1977 DAY-BY-DAY

All the pictures shown on this page are identified with the correct date when the informations are available. All the credits are given to the original owner.

Despite the corrections, if errors exist please send me a email (you will be cited as corrector).

JANUARY 1977

Early January, release of the new album of the French singer Rachid Bahri. Recorded in Brittania Row studios and mixed by Brian Humphries, the LP features participation of Nick Mason, David Gilmour, Tim Renwick and Willie Wilson on « Il survivra » track.

January 1977, The rehearsals at Olympia Hall of London continues until February, 21th.

According « Rock & Folk », Nick Mason invited the band Tangerine Dream to listen the new Pink Floyd LP at home (« Telegrammes », Rock & Folk, January 1977).

The French director and actor Jean-Louis Barrault made a proposition to the band to write a soundtrack for a theater project. In vain.

19 January, Press reception at the Battersea Power Station. 

« They have, we are led to believe, been working on this project for most of the past year. Speculation as to the content and eventual arrival date has been rife since the autumn. 

Then last week the world's press and his wife were invited to Battersea Power Station for a preview. (Why Battersea? Well, friends, its tall chimneys, plus a large inflatable pig will feature on the album's cover). The playback started and the furtive scribes commenced note-taking. « We can't have this », sneered the man from Harvest. « We don't want them to review it on just one listen. Go and tell everyone to desist at once ». 

The sheepish scribes obeyed the dog's order and the music played on. After a chicken meal, the album was played again. « No note - taking again if you don't mind gentleman » grinned the big dog, now walking on two feet and sporting a string of medals across his chest. A raucous laugh from the rafters over awed the music. 

The sheep looked up and at each other, mouths open, the dogs strutted about and showed their teeth. All agreed it had been a pleasurable evening. The grazing had been particularly good and the assembled sheep were now bleating to one another. 

« It's a Dave Gilmour album », mused a woolly wonder from the Moors. « OK — as the second album in a double set » assured a bespectacled ram and the adorning ewes shook their fuzzy heads, bleated and went off into the night, telling themselves over and over that what the experts had said was right. As I was leaving, a leather - clad dog caught me by the scruff of the neck. 

« You want another listen? It can be arranged. Come up to HEADQUARTERS tomorrow afternoon ». « Does this apply to the whole flock ? » I retorted curiously. « No. All sheep are equal, but some are more equal than others. YOU have been chosen »

« Animal Yarn », Record Mirror, 29 January 1977.

Roger Waters stated on « New Musical Express » « (that the last Floyd tour was) very unpleasant, un-nerving and upsetting ». 

He described an idea he had of building a wall across the stage during the set to show the true relationship between group and audience: « People con each other that there is no wall ... maybe make it out of black polystyrene » (in « Floyd in Barn - Yard takeover », 20 January 1977).

20 January 1977, John Peel preview the new album for the first time.

21 January, Nick Horne plays « Animals » as conclusion of the 6-part radio show « Your Mother wouldn’t like this » the same day of the release in UK.  The same day, the crew and the material departure from London to Dover. The caravan takes the ferry between Zeebruge to Essen.  The following day, the band and the crew take a flight for a soundcheck at Westfallenhallen around 3 pm and following rehearsals about 4pm.

22 January, trip from Essen to Dortmund. Load-in: 8.00pm; Soundcheck: 3.00 pm and rehearsals: 4.00 pm. The band stayed at the Roemischer Kaiser hotel.

23 January 1977, « Animals » is released in UK. It will reaching number 2 eventually.

Gilmour :

« On « Animals » I was the prime musical force. Roger was the motivator and lyric writer ».

« The third coming », Mojo, May 1994.


Wright:

« Animals was in a way, the beginning of the departure of me from the Floyd, because “Animals” was Roger's concept, if you like, and I didn't actually write anything on Animals. So I was just like Nick, playing the music».

«Shade of Pink», The Source, 1984.


Aubrey Powell: «J’écoute rarement pink Floyd. Et encore moins «The dark side of the Moon», que je n'aime pas beaucoup, même si ça a été notre pochette la plus célèbre. Je préfère "Animals", c'est plus agressif, plus dur. J'adore cet album»

«Mes disques à moi», Rock&Folk, March 2020


Waters:

« (…) For me that record and “Animals” signalled the end of the band as it had been before ».

« Roger Waters », Rock Compact Magazine, September 1992

23 January 1977 Westfalenhalle, Dortmund, Germany

First show of «In the Flesh» tour. The rehearsals was scheduled at 12.00 am. The doors opened at 6.00 pm. The show began at 8.00 pm.


« (…) Et à vingt heures précises, un énorme grondement métallique monte du fond de la salle, la traverse en sifflant et, en atteignant la scène, semble souffler toutes les lumières : c'est parti. Pour des perfectionnistes comme les Pinkies, l'heure c'est l'heure. Point n'est besoin d'entretenir l'hystérie en. jouant sur le retard et l'énervement croissant, comme le font les Stones ou les Who. Le concert se déroule en deux parties séparées par un entracte. La première est consacrée au nouvel album, « Animals », qui est aménagé de façon à durer une heure, de même que pour « Wish you were here » qui occupe la seconde partie et qui a été également allongé pour ne pas voler les gens ni créer de problèmes de répertoire au groupe. Alors que « Wish you were here » est interprété intégralement dans l'ordre de l'album, « Animals » a été aménagé : le concert commence par « Sheep » et ses bêlements, puis un premier intermède acoustique avec « Pigs on the wing », joué par Waters seul avec un petit accompagnement d'orgue assure la transition avec les aboiements de « Dogs » ; ensuite vient la seconde partie de « Pigs on the wing », plus étoffée, avant « Pigs », le morceau de bravoure qui clot cette première partie. Pendant tout ce temps, l'écran reste vide. L'éclairage seul assure le spectacle. Sur ce point, les Floyd ont innové, et avec beaucoup de bonheur. Partant de chaque côté de la scène, deux immenses bras télescopiques portant chacun un nid de projecteurs, déplacent l'éclairage à volonté au-dessus de la tête des Pinkies, conférant ainsi une souplesse inédite à l'emploi des spots. Et il est assez fascinant de voir ces deux grands tentacules sombres se mouvoir derrière la scène, comme si quelque monstre de métal tissait dans l'ombre quelque toile maléfique. La première fois que ces engins entrent en action, qu'on discerne vaguement ces masses sombres s'élevant dans l'air comme propulsés par le faisceau des spots, on croit voir un de ces engins fous qui encombrent le cosmos féerique du dessinateur Chris Foss. Quelques effets de projecteurs plus classiques sont aussi bienvenus, comme le ballet de deux faisceaux rouges sur les cintres tandis que la musique plane un instant, qui suggère une recherche, fait attendre un événement, jusqu'à ce qu'enfin le doigt de sang vienne dégouliner sur Rick Wright qui entame alors un solo de synthé. Mais la sensation de cette première partie est assurément le tour du cochon. 

Oui, le cochon de la pochette qui s'envole soudain au beau milieu de « Pigs », traverse la salle dans les airs par un système de filins et vous regarde de ses deux gros yeux jaunes lumineux. Curieuse scène alors que cette foule applaudissant à tout rompre ce porc énorme, comme s'il s'agissait d'un de ses dieux. Il est vrai que ce cochon ainsi ovationné par les habitants de la capitale de la saucisse paraissait délicieusement bien dans le contexte. Voilà qui ne manquait pas de sel. Ailleurs, la dimension de la scène touchera plus les philosophes, sociologues et psychologues : voilà que Pinky fait adorer le plus vil des animaux domestiques, c'est ce qui s'appelle avoir de la force de persuasion. Et pendant ce temps, nous tentions de persuader Ducray qu'il n'était pas en proie à du délire : c'était bien la première grosse bébête rose tout à fait réelle qu'il voyait, vu que d'habitude elle disparaissait toujours quand il disait : « Et un verre pour le gros monsieur tout rose avec une trompe, garçon ». 

Après l'entracte vient la seconde partie consacrée à « Wish you were here », qui est donc joué dans l'ordre du disque. Là, l'écran fonctionne à plusieurs reprises. Une superposition de vues fixes et irréelles pour le prélude. Un splendide dessin animé en couleurs pendant « Welcome to the machine », qui est à tous points de vue le clou de cette deuxième partie. Quelques projections encore pour la reprise de « Shine on you ». Mais la grande réussite visuelle se situe au final : une grande fleur métallique se lève sur le cercle de l'écran, les spots blancs viennent se poser sur elle tandis qu'elle tourne, et cela devient une féerie de rayons et de taches lumineuses se mouvant au fil des sons si beaux du final. La salle semble se dissoudre, n'être plus qu'une immense béance donnant sur la baie infinie d'un ciel cosmique chargé de galaxies. Peu à peu le pinceau lumineux se resserre sur le coeur de la fleur pour une ultime giclée de rayons. Et la nuit revient avec l'expiration du dernier son. Indiscutablement, le côté visuel de cette seconde partie est remarquable, et surtout en ce qu'il épouse parfaitement la musique. Mais la musique, il faudrait peut-être en parler à présent, car il faut bien dire qu'elle fit problème lors des deux concerts que nous vîmes à Francfort. D'abord, les Pinkies sont toujours aussi ternes sur scène, et ne manifestent guère de joie particulière à se trouver devant un public qu'ils saluent à peine d'un vague « Thank you » ou d'un froid « Goodbye ». Même pour le rappel (un rappel soigneusement orchestré puisqu'ils font rallumer les lumières pour bien exciter la foule) — ce « Money » qu'accompagne le film que vous vîtes en 74 — ils ne se départissent pas de leur flegme. Et il faut voir la tête de Gilmour prenant un solo : une moue sinistre, les yeux rivés au sol, il aligne mécaniquement les notes sans l'ombre d'une émotion, comme s'il était toujours en train de se demander ce qu'il fiche là. Guère flashy. Et cette réserve ne peut que se ressentir au niveau de la musique. De plus, nous fûmes vraiment choqués de ce que les trois musiciens qui accompagnent Pinky ne soient même pas présentés par leur patron, comme si l'on voulait bien faire sentir qu'ils ne sont que des tacherons sans importance, des esclaves bons à souquer dans la cale. Et pourtant Dick Parry, le saxo, prend des solos, tout comme le guitariste, un petit jeune au style propret (souvent plus que celui de Gilmour, ou comme le second synthé qui, dans l'ombre de Wright, réalise les programmes plus difficiles des sons d’environnement qui passent sur le circuit quadriphonique *. Et nous ignorons leurs noms, tout simplement. Et il est vraiment symbolique d'assister à ce moment de « Dogs » où les deux guitares jouent ensemble en harmonie une superbe phrase bourrée de jus mais où seul Gilmour est éclairé, pour faire croire sans doute qu'il est seul à réaliser ce son magnifique. Nous vous laissons le soin d'apprécier cette attitude. Quand on pense que les Stones présentent ... Ceci dit, des deux concerts que nous vîmes, le premier fut franchement mauvais, et le second seulement honnête, ne s'élevant à un rythme et à une intensité dignes de Pinky qu'en deux moments (« Pigs » et « Welcome to the machine »). Du premier, on préférera oublier les vocaux désastreux et faux et, ironie du perfectionnisme, Waters se coiffe d'un casque pour mieux assumer ses vocaux : il n'a pas dû être déçu des canards qu'il entendait dans ses écouteurs —, les solos brouillons de Gilmour où les plus beaux thèmes étaient soudain parasités par des « crouitch » impardonnables chez un musicien aussi professionnel, ce « Sheep » par deux fois massacré parce qu'il sert de banc d'essai pour régler la sono et qu'évidemment tout n'y est que bouillie et guitare trop forte. Tous ces accrocs furent en partie réparés au second concert, mais les vocaux furent encore souvent douteux (notamment sur « Shine on you crazy diamond » où l'on croyait entendre des pochards revenant de bombe en chantant leur air préféré). Tout ceci, même mis sur le compte du début de tournée est impardonnable. Il est inconcevable que des gens qui se veulent aussi soigneux, aussi fins technologues commettent de telles bévues et soient incapables d'avoir un son propre dès le premier morceau. Pour ce qui est du passage au live des thèmes des disques, l'on retrouve bien sûr ce qui est réussi et vous fait gentiment tanguer. Toutefois l'on regrettera que « Dogs » perde dans l'histoire toute sa subtilité et que sa rythmique si fine sur disque soit sur scène totalement et lourdement assénée plus que jouée. Deux grands, très grands moments éclairent ces concerts : le fabuleux « Pigs », avec sa rythmique accrocheuse, ses riffs tranchants, ce son carré et loyal qui emporte si bien une foule ; et « Welcome to the machine », de loin le meilleur morceau de « Wish you were here ». Le final est lui aussi très réussi, mais cela tient davantage à la conjonction des lumières et de la musique, qu'au seul thème qui demeurera à jamais le petit frère maigrelet du grand final de « Saucerful of secrets ». Pour le reste, les mélodies valent ce qu'elles sont sur disque, et donc sont discutables suivant les goûts et les opinions que l'on émet sur « Wish you were here » et « Animais ». Il est cependant indiscutable que la façon dont les séquences ont été allongées et étirées pour tenir les deux heures émousse considérablement ces mélodies dont l'efficacité avait été dosée en fonction d'un temps restreint. Ici, tout est tiré en longueur sans aucun rajout décisif. Au lieu de faire des variations, l'on répète sans enrichir, il ne se passe rien de plus et l'intérêt languit. L'on comprend que cette pratique soit dictée par la loi d'un show intelligemment conçu, mais de là à l'approuver ... Bref, nous conserverons un souvenir plutôt mitigé des shows de Francfort. Si le côté visuel est très satisfaisant, la musique, elle, souffre de manques assez graves, non seulement au niveau de ses principes, mais encore à celui de son exécution. Si nous prîmes de-ci de-là un réel plaisir, ces moments furent trop rares, et confirmèrent que Pinky n'est pas vraiment un groupe de scène. Espérons pour vous qu'ils seront meilleurs à Paris pour leur série de quatre shows. Si l'on savait que le groupe est à présent plus une institution établie qu'une valeur d’actualité, on lui accordait toutefois une réelle compétence et un charisme évident. Nous n'aimerions pas que ce géant tout rose perde aussi ces deux qualités et devienne une idole apathique que les foules applaudissent par rite et habitude, un peu comme son gros cochon qui flotte molle-ment dans les airs. Alors que « Animais » est une superbe réussite qui prend un pari sur l'avenir et semble devoir le gagner, il est dommage que des prestations en public aussi moyennes viennent gâcher tout cela. Mais peut-être n'était-ce après tout qu'une erreur de début de tournée. Une faute de jeunesse, quoi. Ce n'est pas sérieux, à leur âge … »

« L’Europe Rose - le Floyd sur la route », Best, March 1977. 


*Il s’agit d’une erreur d’Hervé PICART qui sera corrigé dans le numéro d’Avril de Best"

Photographies by Hand Dürwald (left) and by « Wolfgang Vaults » (right)

David Gilmour, Ginger and his daughter Alice in Germany

Ginger Gilmour:

« So the Animals tour began, first stop was Germany. The gigs were getting bigger and louder. In addition, as our families grew, our entourage became bigger also. Once again, our personal assistant Warwick McCreddie looked after us. 

We had young Alice and our Nanny, Jeannie with us.  After the first concert with Alice safe in bed, David and I joined the others at a night club party, which the promoters had set-up. When we arrived there in a box was a live baby pig shivering as the loud music surrounded him and the strobe lights revealed his form to us. The promoters thought that it would be funny. I freaked! The band told Warwick to take it back to the hotel and arrange for the farmer to pick it up as soon as possible, which meant taking him to his room at the hotel until it was resolved.

The next morning, Alice, Jeannie and I went down for breakfast and gathered as much lettuce, other vegetables, and bits of fruit knowing that Warwick for sure had not thought of that. We waited until we thought it was a reasonable hour to visit and see how the baby pig had fared. We were probably a bit early, but it was around 10:00 a.m. Poor Warwick was extremely hung over and moaned as he opened the door. Suddenly he gasped and shouted, “OH MY GOD!” as he looked back into his room.

All the mirrors on the sliding wardrobe doors were cracked.

The pig had been snorting at all the other pigs he could see and must have been kissing himself or had an argument to have created such damage. There was excrement everywhere. His room was literally a pigsty! »

« The Bright Side of the Moon », Ginger Gilmour

24 January 1977 Westfalenhalle, Dortmund, Germany

26 January 1977 Festhalle, Frankfurt, West Germany

Photographies by Klaus HITLSCHER

First show of «In the Flesh» tour. The soundcheck was scheduled at 3.00 pm. The doors opened at 6.00 pm. The show began at 8.00 pm.


Ginger Gilmour:

« In Frankfurt, the audience had been very violent. They were throwing beer cans and other paraphernalia on stage. Some of the flavor of the Beauty I found in the shows was wearing thin » 

« The Bright Side of the Moon », Ginger Gilmour

27 January 1977 Festhalle, Frankfurt, West Germany

Photographies by Erich BIRUK

As reported by the French press, on the evening of the 27th, among the 12,000 people present, some troublemakers threw bottles and cans on stage. Nick's battery was splashed before they were evacuated.

The Floyd tour is considered an event that goes well beyond the specialized press. The mainstream German press largely covers the first date of the European tour

29 January 1977 Deutschlandhalle, West Berlin, West Germany

30 January 1977 Deutschlandhalle, West Berlin, West Germany

Photography by Robert ELLIS

Rick Wright and his son Jamie, in transit between Germany and Austria.

Etienne Roda-Gill, a veryclose friend of Roger Waters, wrote a French adaptation of Summer 68’ under the title Maquillez-vous for an obscure singer Michel Marceau.

Austrian ad announcing the concert of February, 1st

FEBRUARY 1977

February 1977. Premiere of « Animals » during the « MIDEM’ 77 » at the Sporting Club of Cannes, France. EMI invited 300 guests.

1 February 1977 Stadthalle, Vienna, Austria

Gilmour played the melody line of Bike at the very end of Shine on you Crazy Diamond (Part 9)

2 February 1977 Stadthalle, Vienna, Austria

Pictures by Süddeutsche Zeitung

3 February 1977 Hallenstadion, Zurich, Switzerland

Photographies by Carmelo PULVIRENTI

4 February 1977 Hallenstadion, Zurich, Switzerland

5 February, « Melody Maker » dedicates a special report of the German leg

« Pigs fly over Germany », Melody Maker, 5 February 1977.

« Populaa 1 » releases a special issue dedicated to the band

« Especial Pink Floyd », Popular 1, February 1977.

The same day, the band announces a four-dates at Wembley in March. Due to extra demand, a fifth night will be added later. February, the 7th is first day for the sell of the English concerts. tickets.

12 February 1977 « Animals » was released in the US and reached No. 3 in the charts.

A long article in the February issue of the French musical magazine « Best »

Before the show.

17 February 1977 Sportpaleis Ahoy, Rotterdam, The Netherlands

Pictures by Rob VERHORST (left) and Pictures by Giljbert HANEKROOT (right)

« Het optreden was gesplitst in twee Voor de pauze werd vrijwel complete materiaal van de nieuelpee „Animals" vertolkt, terwijl tweede stuk in zijn geheel beuit de live-opvoering van de plaat  „Wish you were De eerste helft werd vooral gedodoor het langgerekte „Dogs", volgens het geijkte Floyd-receptuit veelvuldige gitaarsoli van Gilmour, ruimtelijke orgelflarvan Rick Wright en zang van Roger Waters. Dit trio speelook in de rest van het repertoire hoofdrol, aangevuld door drum Nick Mason en de twee extrate weten gitarist „Snowy" en toetsenman Dick Parry, die sax speelde. Verrassing Tijdens „Pigs" ontpopte zich de

verrassing, toen er onder allerdierlijk gekrijs een immens opvarken boven mijn hoofd Maar ondanks deze stunt toch vooral de tweede set uit een suggestief spektakel dat op In feite kampen alle topgroepen  mij de grootste indruk maakte. Niet alleen klonken muzikale thema's als „Wish you were here" en „Have a cigar" veel intrigerender, ook de visuele effecten vierden daar hoogtij. Bij „Shine on you crazy diamond" bijvoorbeeld werd een eigen film geprojecteerd die het verhaal fraai aanvulde, terwijl aan het slot van dit nummer een enorme reflector ver- scheen, die de zaal bezaaide met sterren. Na minutenlang klappen, fluiten en brullen om een toegift vulde het scherm zich tijdens „Money" nogmaals met beelden die de klanken van Pink Floyd een extra dimensie gaven. Een show vol vondsten en effecten »

« Popshow vol vondsten », Het Parool, 18 February 1977

18 February 1977 Sportpaleis Ahoy, Rotterdam, The Netherlands

Photographies by Gijsbert HANEKROOT

19 February 1977 Sportpaleis Ahoy, Rotterdam, The Netherlands

Photographies by Barry SHULZ

David and Roger are interviewed by a French team led by Jean-Jacques Dufour prior their French gigs. The segment was broadcasted on Antenne 2, on 21th February.

24 February, a long article in the German teen magazine « Bravo » is dedicated to the German leg of the European tour.

Before the show.

20 February 1977 Sportpaleis, Antwerp, Belgium

Pictures by Paul COERTEN

20 February. RTL gets a exclusive interview of Roger Waters recorded in Belgium by Jean-François Hebey


Interviewer: «How do you imagine yourself in 10 years, at 43 ? Do you still see yourself playing bass, guitar,  singing in Pink Floyd ?»

Roger Waters: « It's quite possible that when I'm a little older I'll always write my songs, and I'll always play bass in a band. I do not think age has anything to do with it. 

Do not think « you have to be under 30, 45, 60 », that does not mean anything.  People have a tendency to say « 33 years old, it's old », but I think people in their minds think that rock is something childish, that it's a youth music. 

But that's not true, there's a lot of work behind this music. For example Bob Dylan, do you realize what this guy has been doing for rock for years? 

There are people at 42, 43, who produce records, who do a very solid job. So I hope to do the same in a few years ».

‍ Roger Waters interviewed by Jean-François Hebey for RTL radio », 22 February 1977.

Parisian’s advert.

21 February, arrival of the band at La Gare du Nord, Paris.

Roger and David photographed by Jean LABORIE for « France Soir »

The mainstream French press largely give a large coverage to the band coming in France.

« Le Figaro » (left), « France Soir » (right)

 Rehearsals at Paris. Clockwise: Brian Humphries, Dave and Roger and Nick Mason. Photographies by Daniel LECOMBE

Ginger Gilmour:

« (…) We reached Paris, where the Floyd were to play at the Pavilion de Paris. Roger, David, and I were in one of the cars, which was taking us to the gig. There was a drive to the back entrance


that was about a block long, with a brick wall on the left and a high fence on the right, with only room for a car never mind a limo. When we turned into the drive, there were fans waiting, lots of them up to the gate.


The driver went slowly into the crowd. There was nowhere for them to go, except on top of the car and squashed against each other, against the wall. I started to laugh and laughed hysterically. Roger looked over to David and asked, « Why is she laughing ? » David said, « That is what she does when she is extremely panicked ». First, I laughed, because I could not believe what I was seeing, as the driver kept moving forward. Then, as it worsened, I laughed hysterically because my heart hurt at what I was seeing. They were screaming and banging on the car. Their faces pressed against the window. Their anxiety was a mixture of excitement that their stars were so close and OH MY GOD I am being crushed. I wanted to get out, but there was no way to do so. I had to close my eyes and hold David's hand tightly. I found refuge against his shoulder until the nightmare was over »

«The Bright Side of the Moon», Ginger Gilmour

22 February 1977 Pavillion de Paris, Porte de Pantin, Paris, France

Photgraphies by Daniel SIMON (left) and Jean Gaumy (right)

23 February 1977 Pavillion de Paris, Porte de Pantin, Paris, France

Photographies by Christian ROSE

Richard and his wife, Juliet photographed backstage by Peter MAZELL

24 February 1977 Pavillion de Paris, Porte de Pantin, Paris, France

Photographies by Unanimals

After this show, the band celebrates his 10th anniversary at Paris (cabaret « la nouvelle Eve »). All the members, Steve O’Rourke, Paul Allessandrini (reporter), Etienne Roda-Gill and the  French EMI staff are invited.

Nick and Roger, « La Nouvelle Eve »

Nick and Roger, « La Nouvelle Eve »

25 February 1977 Pavillion de Paris, Porte de Pantin, Paris, France

Photographies by Claude GASSIAN (left) and Joelle GARDIN (right)

«Pendant très longtemps, il n'a vraiment pas été un groupe comme les autres, il a su préserver son intégrité, son originalité, une volonté assumée en commun par une somme de travail.  Il a mis beaucoup de soin pour préparer ses spectacles, ses disques dans un esprit, une démarche orientée vers la recherche de nouvelles formes d'expression. Aérienne, structurée, élaborée, délire de sons, de cris et de lumières, la musique du Pink Floyd, que les Anglais ont étiquetée un jour comme étant du " space rock ", du rock spatial, a exploré des espaces intérieurs, découvert de nouveaux horizons poétiques, mis l'accent aussi sur une dimension esthétique très pure. On allait à un concert du Pink Floyd pour " planer ", c'est-à-dire par sensation.

Il y avait une espèce de vibration du temps et c'était un peu comme un voyage. Parce qu'ils ont voulu se renouveler constamment, Rick Wright, Nick Mason, Roger Waters et David Gilmour, les quatre Pink Floyd ont cherché, essayé beaucoup de possibilités, propagé en son temps le " light show ",  travaillé sur l'idée de spectacle total, mêlé le rock et les ruines d'une civilisation (Pompéi), le rock et l'image (More, la Vallée), le rock et la danse (malheureusement avec un chorégraphe - Roland Petit -  et une compagnie qui étaient à l'opposé de l'univers sonore du groupe), le rock et la forme classique (Atom Heart mother joué notamment au Festival de Bath avec des chœurs et un orchestre classique). 

C'est sans doute pourquoi le groupe, fondé il y a aujourd'hui onze ans, est l'un des rares à avoir touché un public plus large que celui de la musique rock. Dark side of the moon, un de leurs albums, 

s'est vendu, en France, à 750 000 exemplaires - ce qui ne s'est jamais reproduit depuis pour un disque rock. Depuis quelques années pourtant, il semble bien que d'autres groupes aient pris dans la recherche la relève du Pink Floyd. Non que les membres du Pink Floyd aient été absorbés par un quelconque statut de "rock stars"  qu'ils n'ont jamais eu, ou par le show business. Les musiciens du Pink Floyd ne remplissent pas leurs vies avec des tournées et n'enregistrent pas inconsidérément. Ils ont toujours pris leur temps.

Cependant, aujourd'hui, ils paraissent manquer de perspectives comme le confirme la tournée de promotion de leur dixième album («Animals»). 

Le spectacle du Pavillon de Paris est, bien entendu, excellent et il est agréable de retrouver des climats typiques joués par des musiciens accomplis.  Mais on souhaiterait que le groupe ne se contente pas de préserver le mythe d'une aventure»

«Le Pink Floyd ou le mythe d'une aventure», Le Monde, 24 February 1977.

The French leg of the tour is acclaimed by the press:


« Plus de 50 000 fans en délire ont applaudi le groupe Pink Floyd au Pavillon de Paris les 22, 23, 24 et 25 février dernier. Cette nouvelle série de concerts des Pink Floyd en France constitue un record de plus à l’actif du groupe britannique qui collectionne disques d’or et disques de diamant. En effet, leur deux derniers albums intitulés «Dark Side of the Moon» et «Wish you were here» ont été vendus en France à plus de 500 000 exemplaires chacun. Les 33 tours précédents ont tous été classées disques d’or et ne doutons pas que le dernier en date «Animals», atteigne des chiffres encore plus étonnants puisque 200 000 exemplaires ont été vendus en quinze jours (…) »

«Record battu», Salut!, 12 March 1977.

A long article about the last album and tour in the February issue of the magazine « Circus ».

27 February 1977 Olympiahalle, Munich, West Germany

Mike Quinn (Audience member):

« I was stationed in Augsburg, West Germany in 1976 and 1977.1 saw a lot of great concerts in Munich, which was an easy train ride from where I was based. We always got a bottle of great German wine for the ride and to fill up the bota bag! This concert was actually the Animals tour, even though the ticket showed the Wish You Were Here cover. 

I went with my friend Mark, who is one crazy guy (…) Mark and I had decent seats and another group of our buddies were partying down on the floor. We smoked a lot of hashish there in Germany and that’s what Mark and I did! It was a great concert. ‘Pigs’ was so incredible. The big floating pig came out and floated over the crowd! We learned the next day that our friends that were down on the floor were doing some acid and that when the big pig floated over, one of our crazy buddies passed right out. Too intense I guess! »

« Pink Floyd: I was there », Richard Houghton

28 February 1977 Olympiahalle, Munich, West Germany

An invitation for the party who celebrate the end of the German leg.

MARCH 1977

March 1977, « Animals » is certified Gold in Canada.

Contrary to what had been planned, the March 1st show has been added. The group was scheduled to return to London (as stated on the « In the flesh » itinerary program document).

Set-up picture

1 March 1977 Olympiahalle, Munich, West Germany

Between the last gig in Germany and the beginning of the London concerts, Gilmour gets a flu and needed to be healed to avoid to lost his voices. A pharingisis will affect his vocals parts during the following British gigs.

One of the Wembley shows originally scheduled for March 20 is rescheduled on March 16 for « administrative reason » according the Floyd’s management 


« Sadly, there are some things that even the Pink Floyd (and their engineers) can’t bargain for, as they agonizingly found out at the recent series of concerts at Wembley. What happened has been widely reported in the popular and musical press, and it almost resulted in the week’s concerts being called off. Ironically some of those reports have been  sufficiently inaccurate to risk making life more, rather than less, difficult for the Floyd in  future—and for that matter any other groups putting on similarly theatrical concerts.

A day before the shows began, the Greater London Council exercised its right to send in  inspectors to check the concert arrangements for safety. Since a young girl was crushed to death at a David Cassidy concert a few years ago, the GLC has insisted on making the grant of a pop concert licence conditional on adherence to various safety regulations. These cover crowd control, sound level and fire hazard, plus health risks from special effects. With commendable open-mindedness, the GLC revised its original restrictions over sound level (perhaps as a result of pressure from the industry) and has caused relatively few  problems for groups in this respect. But in other areas, notably provision of stewards for  crowd control, the GLC has proved a stickler, and laid itself wide open to the criticism that the Council Authorities are unable to distinguish between a Floyd or Santana audience, which is far less unruly than a Prom audience, and the kind of screaming mob that tries to  tear souvenir strips off David Cassidy or the Rollers.

The GLC is also a stickler on electrical safety and the use of lasers. (A prosecution for the alleged misuse of lasers during The Who concert at Charlton last year is still pending at the  time of going to press.) It was on the matter of emergency lighting and electrical safety that the main problems arose at Wembley for Pink Floyd. 

The GLC insist on emergency lighting which meets BS 5266 and provides a minimum light  of 0.2 lux at any point in the hall during the concert. If the emergency lighting available the  hall is diffuse then there is no need for any sector of the audience to have more tha 0.2 lux, and if there is a disaster (be it a bomb, an electrical fire or whatever) the whole audience can still see sufficiently wel get out of the hall. But if the lighting isn’t diffuse, then some sectors of the audience are going to be far too brightly lit (if everyone is to have a minimum of 0.2 lux) According to the GLC this is what happened at Wembley. The available emergency lighting was too bright, and w have wrecked the Floyd act. The GLC bent the rules and the shows went on wit dimmed lighting. But it didn’t stop relat with the GLC turning sour. On the one hand, there’s Floyd and the crew struggl to put together a show to be proud of,< the other hand there's the GLC worryir about safety and appearing to create difficulties. After some hassles over the strength of the pig-carrying cable, the came when the GLC inspector pressed

requirement that any metal work which carries mains cables must be earthed. The Floyd engineers only found out what this meant in practice after the first night (Tuesday) show had been marred—some would say ruined —by mysterious buzzing of the sound system. After spending the whole night after the Tuesday and Wednesday shows meticulously checking through every item of Floyd sound gear, the engineers finally found—virtually by chance—that earthing wires had been attached not only to all the scaffolding around and on the stage, but also to that which carried the quad stations around the hall. »

« Super Agony », Super Sound, June 1977

Since the Floyd presents an never-seen-before show in terms of audio-visual effects, the European music and non-music press devotes numerous articles to the technical aspects of the show.

« Pink Floyd’s sound system », Beat Instrumental, March 1977 (England)

«La sono du Pink Floyd », Le haut-parleur, June 1977 (France)

For the « home » gigs, Mark Fisher and Jonathan Park present some new visual effects as the nuclear family (Some other effects will be added for the North-American tour).

On the left: original drawings by Andrew Sanders. On the right: Wembley set-up, March 1977 photographied by Mark Fischer.

15 March 1977 Empire Pool, Wembley, London, England

« The sheep, the pigs, the dogs were all gathered together in the barn they call the Empire Pool Wembley, to pay homage to the raconteurs of animal tales, Floyd. Into which animated category do the Floyd place themselves in their allegory game? I don't know, but they set themselves above an audience for whom they can do no wrong. But do the Floyd fans realise that it is they from whom the Michael is being extracted, they who are being parodied? As you might have guessed, they played through their latest platter 'Animals'. Dogs barked, pigs grunted and other strange farmyard noises emanated from the speakers liberally scattered around the barn. The light show was as professional as has come to be expected from this band. Everyone was expecting the giant inflatable pig which flew gently across, but unexpected and strangely disturbing was the inflatable family, sofa 'n' all which appeared and hovered menacingly for some time. Okay, okay, no more questions, no more answers, but who did they really look like? I looked at the guy sitting next to me. There was a similarity. And all the sheep looked at one another and wondered. But they applauded loudly, very loudly. For the second half —super groups need a break between sets you understand — it was `Wish You Were Here' featuring 'Welcome To the Machine' and many very wonderful circular screen film shots / images on the backdrop —monsters, tower blocks, rotating people, blood. The ultimate lighting effect was a large rotating wheel sending all manner of images across the animals. They grunted and snorted approval and asked for more. They got a little bit more and then in orderly fashion and two - by - two went off into the night. "Wasn't it fantastic", "Brilliant", "Pure Floyd". Grunt, grunt, snort. I enjoyed it. Really »

« Floyd's giant barn dance », Record Mirror, 16 Mars 1977


On the afternoon of the band’s opening concert at Wembley’s Empire Pool, representatives from the Greater London Council check that the flying inflatable pig is tethered to a safety line as demanded during a lighting rehearsal: « There’s no way we’re going to allow that much smoke in the auditorium. Our officers were presented with a large number of new effects for the show on the Monday morning, which was the first time they had a chance to examine them so far as safety considerations were concerned « Obstructive bureaucracy will emerge again at the band’s upcoming Madison Square Garden performances in New York, where unionized lighting technicians will also make life difficult ».


John Martin:

« Back in 1977, I was a 20-year-old student at Portsmouth Polytechnic. I had been a Floyd fan for about three years, and had never seen them in concert (…) Set One; eight o'clock: people still coming in as the lights went out and the first pulses of Sheep are heard in the huge hall. Wright's organ sounds very clear indeed. Lights are quite dim at this point. Suddenly the Floyd are in full flow and the group is lit up by lights: red ones, green ones, orange ones, blue ones. Six great musicians playing great music. The centerpiece of Sheep arrives and the stage is bathed in quiet light - the 23rd psalm is not heard very clearly, but is not meant to. Again the stage brilliantly floodlit, as Floyd move into the Avengers sequence and Gilmour is spotlighted as he plays the lengthy final solo. As he does so, mobile lighting gantries (looking like fireman's extension ladders) rise slowly into the air on either side of the stage, spraying brilliant flashes of light like iron filings in a chemistry set. Unfortunately the left hand side failed to go off (the only mistake I noticed, though doubtless the music press will find others!).

Sheep gets tremendous applause, and then Waters changes to acoustic guitar for Pigs on the Wing part 1, which is immediately followed by Dogs, with the spotlighted Gilmour taking lead vocal, and then Nick's drums enter to create the full Floyd sound. Gilmour has a guitar solo between the 2nd and 3rd verses, and between 3rd and 4th, and then the word stone is echoed eerily round the hall and Mason and Wright take over, inducing different moods as their patterns change. This piece is extended from the album, but eventually the guitars come back and Gilmour again takes up the vocals.

As vocals are finishing the first of the Floyd's really big effects becomes visible - a huge inflatable man appears over the right hand PA system - inflating all the time until he hangs over the stage on the right. As Gilmour's guitar takes over, a smaller inflatable, possibly a child, appears to be closely followed by a third object, which was soon seen to be a mother reclining on a settee, and the Dog family has appeared. As Waters' voice takes over the final, repetitive vocals the huge man figure swings from the stage right until he hangs over the group like a great bird. In the middle of the vocals he suddenly starts to deflate, as do the other two, but as the last line is sung and repeated, he is re-inflated to hang over the group once more. The audience are enthralled - it is very noticeable how Rick has been moving from one keyboard to another (Hammond to Rhodes and back) and this he continues to do from time to time throughout the concert. Next is Pigs on the Wing part 2, which is emotionally sung by Roger, with acoustic guitar, and then we get the guttural grunts that fill the Empire Pool, signaling the beginning of Pigs (Three Different Ones). This time Rick and Dave are spotlighted by the mobile gantries as they play the intro and then Roger takes over with viciously sung vocals. The only thing missing was Rick's running down the scale at the end of each verse, which is there on the album. Nick works busily on the drums, and the centre piece of the song is extended until quiet returns as the lead up to the third verse begins.

The light show during this song was fantastic, with rapidly changing colors and patterns. The third verse is sung by Waters, and it is noticeable that something is going on behind the left-hand PA. Suddenly a mist is emitted from the tops of both the right and left PA systems, the audience watches expectantly. As the band move into an extended instrumental section so two points of light can be seen above the left-hand PA, and then through the mist can be seen the snout of a giant pig. It slowly moves out until it is fully visible and we are all craning our necks to get a better view as it hovers over the audience, as if watching us. The searchlight eyes pick out the audience, and the pig moves out into the auditorium. It is clearly a male pig!! It also has a curly black tail looking like a large snake. As Gilmour's guitar solo comes to an end it makes its way back to its lair by the right-hand PA. 

As the enormous applause fades away the band announces it is taking a break.

The stage is at the far end of the pool, with a huge set of speakers on either side. There is a huge set of speakers on either side of the hall, with another at the centre at the back - original 5.1 surround sound! The Floyd consisted of the four band members plus Snowy White on guitar and Dick Parry on saxophone and keyboards. Dave Gilmour stood furthest to the left as we look), playing lead. Snowy stood next to him, on Rhythm guitar. Nick's drum-kit is in the middle, with Rick's keyboards set several yards to his left (our right). Between them, Roger stands playing bass, with a couple of other guitars leaning against Rick's keyboards. Dick Parry's keyboards are set behind, and slightly obscured by Rick's.

Lighting-wise there are two huge semi-circles of lights on the sides of the big circular screen at the rear of the centre of the stage. At either side is a large "genie tower" and spotlights. Besides this there are several lights in the roof, particularly for spotlighting Rick Wright. Other spots come from the far end of the stadium. Lastly (but by no means least) come the two huge lighting gantries perched on the end of extension ladders (cherry pickers). These are regularly moving up and down during the concert. The lights were used very much according to the mood of the music. In attacking sequences, such as Pigs, the stage would be bathed in a brilliant light, whilst during the quieter passages (eg part one of Shine On You Crazy Diamond) the stage was bathed in a softer light - often blue.

After a break of about 20 minutes, the first notes of Shine On You Crazy Diamond are heard. The huge arena was in total darkness, the stage in darkness, and the only light was from the film projected onto the big circular screen on stage. A sort of knee-deep mist is blown around the stage. The film started with a man, then a beach at sunset, then a man running and so forth. This very surreal film was played throughout the first part of Shine On. This was beautifully played, with that wonderful 4 note intro from Dave being spine-tingling. The spotlight took Gilmour, Waters and Wright in turn. Towards the end Dick Parry moved out between Mason and Waters to play his saxophone solo. 

He took one overhead spotlight, with two from the other end of the arena (one from each corner). It was a glorious moment for him, and he played beautifully. As the sax faded into the distance, so the film on screen changed to an animated metal monster moving towards the audience as Gilmour's rasping guitar settled into its mood. The moveable gantries soared into position high above his head as his solo continued and he broke into vocals as the monster became too big for the screen and became what looked like some kind of window-less skyscrapers which in turn cracked and spurted blood. As Gilmour began the second set of vocals, the skyscrapers became carried away by a sea of waving hands. This surreal film continued as Dave finished the second verse of Welcome to the Machine, enthralling the audience. Crowd noises bring the song to an end and the lift door opens. Have a Cigar begins with one of the giant gantries spotlighting Dave from above as he plays the brilliant intro. Mason's drums follow and then Roger's vocals, sounding slightly different to the album. The sound is excellent, with light patterns changing constantly. At the end a transistor radio is raised from the stage and is spotlighted from the far end of the arena (as well as one from each genie tower). The sound of an acoustic guitar is distorted as if from a radio - Wish You Were Here begins. This gorgeous song is extended by a repeat of the final verse, and then the wind blows through the arena, and the surrealist film returns to herald the beginning of Shine On You Crazy Diamond Part Two. As on the album this is the highlight, and the build up to the vocals is quite incredible. Dave started to play a new instrument (some sort of lap steel guitar I think). After the vocals comes a quieter section, with Rick's keyboards taking over, and stage was bathed in a soft green and blue light. As the song builds to a climax, a huge mirrored-glass sunburst rises up from the back of the stage and starts revolving, the centre one way, the outer sails the other. Each panel has an extraordinary number of reflective surfaces, and the effect is stupendous, as light rays are reflected in a myriad of directions. The whole arena is mesmerised as strange patterns are formed on the walls, the ceiling, the audience, with the revolving speed slowing down as the song reaches the end.

When it is finished, the band received a standing ovation that seems to last forever. Finally they returned for an encore of Money from Dark Side of the Moon. Again a film is used, showing money in cash registers, a spinning ten pence piece, a topless model, and various other forms of money, along with things associated with it. Roger sang the vocals, and Nick's drums were to the fore. Again the whole stage is bathed in light. The song was extended from the album version, both between verses 2 and 3 and afterwards. It finished with Mason bringing down the tempo and then with a final crash the concert was over … »

« Brain Damage website - Review », 16 March 1977

Pictures by Steve Joester

Rick Wright feels alienated from the rest of the group …


Wright :

« It was difficult.  It was 1977 and that was when Roger really began to start believing that he was the sole writer of the band.  With regards to that album, it was partly my fault, because I didn’t have much to offer.  Dave, who did have something to offer, only managed to get a couple of things on there.  

I like my playing on the album, but it wasn’t a fun record to make.  Compared to, say, Wish You Were Here, where we were really pulling together as a band – we had our disagreements but it was still a nice creative process – Animals was a slog.  

But I didn’t have anything to offer, material wise, so I was in a difficult situation.».

« Interview with May Blake », Q Magazine, August 1996.


Wright :

« I think he (Roger) would tell you that I'd lost interest in the band there are times around « Animals », where I would sit down with our manager and say, « I've got to leave this band, I can't stand the way Roger's being », but I wasn't really serious about leaving, though sometimes I wasn't happy. 

At the time I was going through a divorce, I wasn't that keen on The Wall anyway, and I didn't have any material. 

He might have seen my situation 

as not having contributed everything but he wouldn't allow me to contribute anything ».

« Danger Demolition in Progress », Mojo, December 1999.

Even if these countries are not part of the group tour, Italy, Yugoslavia and Spain take over the Floyd tour in Europe and dedicate special issues to celebrate their ten-year career

From left to right: issues from Spanish, Yugoslav and Italia.

16 March 1977 Empire Pool, Wembley, London, England

Pictures by Ian DICKSON

« The time has come for Pink Floyd to completely re-think theirs stage act. They play in vast, windy auditoria and do nothing to turn their concerts into humane vents ; the ambiance they encourage is that of a few thousand robots responding to a computer. 

Last Wednesday evening at Wembley’s Empire Pool was no exception. It was rather like sitting at hime in the dark listening to their albums a lot louder than the neighbors would permet, with more treble than anyone would wish and a giant inflatable pig hanging over your head.And this is rock ? A band playing through their two latests albums, « Animals » (first half) and « Wish you were here » (second half) with as little variation as possible ? 

No, this had more in common with a classical concert, where interpretation, as opposed ti improvisation, is the name of the game.  Thus during Dogs we got only a more powerful solo from Dave Gilmour and a throbbing bass pulse that hit right in the throat during Rick Wright’s section – no radical departures from the text.»

« The song remains the same », Melody Maker, 26 Mars 1977

A party was held at « Les Ambassadeurs » hotel after this gig.

17 March 1977 Empire Pool, Wembley, London, England

Pictures by Chris WALTER

Peter (audience member) :

« The next time I saw Pink Floyd was during the ìIn the Flesh tour, also known as « Animals » tour, in support of their new album  « Animals » . The UK leg of the tour took in 5 nights at Wembley Empire Pool, and 4 nights at Stafford Bingley Hall. 

I went to the 3rd night at Wembley. I went down by train, leaving Newcastle around 3pm, straight on the tube across to Wembley, arriving at the Empire Pool around 7pm. The show followed the format that had become the norm for Floyd in the 70s; two parts, the first set featuring the new album « Animals » , and the second showcasing their last release « Wish You Were Here ». The encore was Us and Them from « The Dark Side of the Moon » the night I attended; some nights it would be Money and one lucky audience in the States got the last ever performance of ìCareful with that axe Eugène. 

The tour featured large inflatable puppets, including the famous inflatable pig which flew over us and around the Empire Pool during Pigs on the Wing. 

I enjoyed the gig but found the band somewhat distant, and distant in a literal sense from my seat way up in the tiers. I’ve seen the Sex  Pistols live a few months before, and was starting to get interested in punk, and as part of that I was losing faith in bands like the Floyd. After the show I got the tube straight back to Kings Cross and caught the midnight mail train north, which got me back home around 7am. This was the last time I saw Pink Floyd for some 13 years; I missed the Wall shows at Earls Court, which in hindsight was a mistake that I now regret »

« Pink Floyd Wembley Empire Pool 17th March 1977 », Vintagerock Website, 24 January 2014

18 March 1977 Empire Pool, Wembley, London, England

« (…) On Friday night and probably every other night of the concert, the Pool was packed with fans And who could blame them ?  Who would not want to soak up the superb musicanship of Roger Waters (main vocal and sound), Dave Gilmour (incredible guitar work and vocals), RickWright (keyboard) and Nick Mason (drums) ? The group went on promptly at 8p.m. without a support band. They ran through their new album, "Animals' (...) 

The sound system operated from a mixing desk the size of many a stage, was well-night perfect Some of the vocals were not quite clear from where I was sitting, but that was a long way back in one of side blocks.

After 20-minute break the group came back with a large amount of their "Wish you were here" album, starting off with the title track "Diamond", dedicated to Syd Barrett, and

" Welcome to the machine" were supported with a fantastic film - very Dali-esque. A highlight of the show was when the the inflatable pig from the latest cover album was heaved out above the crowd- that was after the Giant size inflatable family had hovered in from of the front of the stage!»

«Packed pool», Harrow Observer, 25 March 1977

19 March 1977 Empire Pool, Wembley, London, England

« The pig was great! To a roar of applause it appeared, hanging forty feet above the crowd, its orange eyes blinking. Having swung overhead with wonderful irrelevance for a few minutes, the bland inflatable was hoisted aloft and back into the darkness behind the stage whence it came.

The occasion was last week's series of concerts by the Pink Floyd, in pop terms one of the supergroups. Fifty thousand people paid something near £200,000 to see five shows at the Empire Pool, Wembley, a vast hangar of a building in the concrete wilderness beyond the North Circular. The pink pig's belly is an appropriate image.  It sums up the porcine grossness of the performances, whose essence is the gathering together of large numbers of people for the purpose of mass idiocy and private profit. Yet with every appearance of pleasure, each night's ten thousand souls gawped in docile wonder at the procession of pantomime effects. All the old chestnuts were there: the dry ice swirling off the stage (thrilled applause), the back-projected films and animations (howls of excitement), the strobe lights (frenzied enthusiasm), three large inflatable humanoids; complete with sofa (small earthquake in West tier: few dead) and the Mecca ballroom-style glitter ball (outbreak of World War III).

The band themselves cultivate anonymity on stage, apparently happy to act as little more than backing musicians providing mood music for their own gimmicks of presentation. In many ways this is a good thing, for the music too consists of sadly overblown banality, amplified through a high fidelity sound system of prodigiously pointless perfection, which effortlessly fills the hall with three-chord ditties masquerading as orchestral meisterwerks and the pre recorded burps, farts and dog-like growling which are the concert hall equivalent of the stereo demonstration record. That the Floyd should have come to this electronic dead-end saddened me, for in their early days in the late 1960s, they were one of the first groups to attempt to unite music, lights and back-projection in a synesthetic fusion in which each element enriched the others. The loosely structured rock music, with blues licks in the minor keys and Mantovani organ chords in the major, galloped along while the oil and water rainbow slides bubbled and exploded on a screen behind the stage. These seemed significant at the time.

The band's Cambridge background lent them a degree of intellectual respectability in the 'underground' where so-called psychedelic bands prospered as long as the audiences continued to gobble down LSD as fast as it could be manufactured.

I saw them twice during their early days. Once from the side of the stage, a position of privilege occupied by virtue of being a member of the support band which had preceded them. On this occasion I gazed with covetous wonder at the size and quality of their amplifiers while admiring the professionalism of their playing, in sharp contrast to the previous performers. On the second. I accidentally found myself in charge of six hallucinating hippies whom I had somehow to herd past the drug squad officers waiting outside. As I recall, the band was in particularly disorientating form that night.

The audio-visual concept the Floyd originated in those days has had a number of offspring. Hawk wind was a down-market copy for the urban comprehensive market, while Soft Machine aspired towards avant-garde jazz. Soon Yes and Emerson, Lake and Palmer were using similar presentation effects to accompany their pseudo-academic pomp rock. After leaving Yes, Rick Wakeman outgrossed everyone with his 'King Arthur and the Knights of the Round Table on Ice. The Floydian influence was particularly strong in Germany, where Teutonic tastes inclined towards the technological possibilities, producing the computer operator/ musician represented by Tangerine Dream and Kraftwerk, In these straitened days it is unlikely that many new groups will model themselves on the Floyd. Apart from its suburban respectability, illustrated by the frequent use of Floyd music in film scores and BBC 2 documentaries, their approach is simply too expensive. As with Concorde, all purpose and sense the Floyd once had has been taken over by the technology they exploit. One couldn't help musing on what a different experience it would have been to see really creative rock artists like Jeff Beck or The Tubes in charge of all that marvelous hardware! »

« Think Pink », the Spectator, 25 March 1977

On his March issue, the French magazine « Rock & Folk » devotes a retrospective for the ten years of the band.

« Special Pink Floyd », Rock & Folk, March 1977

Karl Dallas reports the 23th March rehearsals:


« « Halt pig », Waters ordered in best Star Trek command module voice (…) I sat behind Roger Waters as he supervised a lighting rehearsal on the Tuesday.. Roadies stood in the positions where the band would be for the show. Engineer Brian Humphries ran a tape of the Dortmund concert - the second in the European series - and the light flashed and coruscated. I jumped out of my skin at the beginning of Sheep which opens the show, because as the lights flashed up in sync with the sound of the drums. I really thought for a moment it was Nick Mason drumming, despite the fact that my own eyes told me Nick was sitting in the row in front of me, alongside Roger Waters (…) « Is that it ? » Waters exploded to Steve O’ Rourke at the end. « Is that what it’s going to look like tonight ? 

Because if it is we’re not going on » (…) « Roger is the one who dreams up most of the effects » said Robbie Williams. He certainly applies an eye for detail tay would be unthinkable in any less complex, less structured show. « I want the smoke to begin at the words « all tight lips and cold feet » at the beginnings of the second verse of Pigs (…) And I want as much smoke as you can give me. I don’t want the audience to see the pig until the loud solo from Dave that comes after the verse » (…) Another source of sound is the film projector showing the Ralph Steadman cartoons which is operated by Andy Shields’ team from a 17ft tower behind the stage, projecting on to a 32ft back projection screen suspended at the back of the stage. 

One of the reasons Roger Waters wears headphones for so much of the set is that the film carries a ‘click track’ which he hears to keep the band in sync with the film (…) The rehearsal proceeds, and during Dogs sequence, three blown-ups shapes rise from stag left, a pretty bourgeois family, mum, dad, and fat little boy »

« Welcome to the machines », Melody Maker, 26 March 1977.

28 March 1977: Tom Hull reviews the career of the band (and specially the status of the last two albums « Wish you were here » and « Animals ») in an article entitled « Pink Floyd moves into phase three ».

28 March 1977 New Bingley Hall, Staffordshire County Showground, Stafford, England

« You can criticise mammoth venues as much as you like. but they certainly seem to suit Pink Floyd. Many groups would find the cavernous and chilly New Bingley Hall at Stafford a forbidding platform. But for Floyd, who are playing four consecutive 8.000-capacity shows there the last is tomorrow night the conditions were ideal. For their music is about atmosphere rather than emotions, and they make no attempt to push aside the protective casing that shields them from the audience. _ None of them spoke on Monday until the encore. Up to that point, it was left to the music to do the work for them, aided by their customary special effects, which on this tour include a number of inflatables and some excellent back-projected films. Taking Monday's performance on Floyd's own terms, they played extremely well, although Dave Gilmour's lead guitar carried a little too much treble.

The first half of the concert was taken up by their new album - « Animals ». and after the break they played their previous release « Wish You Were Here » and both were presented with the precision and control of the recorded versions. But they must take care not to get too comfortable. The concert was spectacular but not exciting, and their musicianship efficient without being inventive.. Still the performance had more in common with their Earls Court « Dark Side of the Moon » shows than with their previous. abysmal, provincial tour two years ago »

« Atmospheric Floyd », Coventry Evening Telegraph, 30 March 1977

Photographies by David REDFERN

29 March 1977 New Bingley Hall, Stafford, England

30 March 1977 New Bingley Hall, Stafford, England

31 March 1977 New Bingley Hall, Stafford, England

« Away from the prying eyes the media who'd takes en almost universal dislike to their London concern, the Pink Floyd ended their British and European Wm at the New Blank, Hall in Stafford with a truly spellbinding performance. In essence the London and Stafford concerts were Identical — the phenomenal technical expertise and practiced organisation of the Floyd touring machine ensures that. 

The difference for the I. night at the New Mosley Hall was that the three bask elements of a Floyd come — the mock, the visual imagery and the audience —which at Wembley had seemed to disparate for most of the time, coalesced into a unified force and produced the finest exhibition of sound and vision i have ever seen. The visual ingredients of the concert

are the least variable of the elements. The inflatable fondly, the now-famous flying pig and the films, provided they appear on me, don't have good or bed nights. 

And even though the light show (surely the most stunning ever presented in this country) depends more on human frailties, it has been perfected to such a pitch that the possibility of failure seems as remote as Roger Waters getting the audience to sing along on the chorus to Shine on you Crazy Diamond !

So it was the Floyd's playing that contributed most to the concert's success. Instead of simply providing a backdrop for the visual effects which they had tended to do at Wembley, they linked their efforts more closely to the extra-audial activIties. So when the pig stopped gazing benignly on the multitude below and turned to glide back slowly to its sty in the sky the music built up to an almost frightening level of intensity as it swept across the hall from the front, back and sides. Dave Gilmour in particularly played with more aggression than I've heard from him before, his guitar at times cutting through the hall as sharply as the piercing beams of light that were projected from the back of the hall onto the stage. It means taking risks and he muffed a couple of intros as a result but it was well worth it. He also combined most effectively with second guitarist Snowy White (who was sadly uncredited) on « Wish you Were Here ». And White got his own chance to excel with a tight but rolling solo on Have A Cigar. The sound, with less echo than at Wembley, was crisp and distinct. And the proportions of the New Bingley Hall helped the Floyd's projection no end. 

The giant screen at the back of the stage reached as high as the low ceiling and the film sequences — which rank as works of art in their own right — had a more immediate impact.The audience too played their part with enthusiasm.  They roared with approval as each of the inflated props were unfurled before them, they greeted each new number with cheers, they bowled at the naked lady who appeared on the screen at the beginning of 'Money' and  clapped along with the rest of the song. Their response at the end was so vehement that Roger Waters quite forgot himself and actually thanked them twice before disappearing into the darkness beyond.Only two criticisms linger on. The first is that the Floyd could profitably stretch out from the tight, album-linked structure of their performance. A snatch of Arnold Layne or See Emily Play during 'Shine on you crazy Diamond would give the song an extra dimension and the Careful With That Axe Eugène style middle section of Sheep could be extended to pay more homage to the original, for example. And the vocals still sound strangely neglected. Surrounded by enough technology to make the Starship Enterprise look like a glider, the voices of Messrs Waters and Gilmour came over with nothing more than amplification, sounding empty and often tuneless. But it could well be that this deliberate. It certainly fits the Floydian view of the world in which insignificant human beings are being steamrollered aside by the advance of automation. However I can't share the jaded pessimism of the critics who bemoaned the Floyd's lack of communication with their audience in the conventional sense of the word, even back at the UFO club In 1967. This tour is a logical extension of what the Floyd have been about for the last ten years. It puts them still further into a class of their own. You may not like the stark, aloof and doom-laden messages that emanate from a Floyd concert but you can’t remain unmoved by »

« ... After the disappointing Wembley dates, Hugh Fielder sings the Floyd's praises at Stafford », Sounds, 9 April 1977.

APRIL 1977

The group knows a certain success in Spain where he even has the honnour of a comic book

The group commissioned Mark Fisher a retractable device to protect the Floyd's equipment at future US outdoor concerts. This is a reinterpretation of Otto Frei's umbrellas who were used for the first on 25 June 1977.

 The crew are testing the system at the Brittania Row Warehouse.

April, Following their recent deal with CBS Steve O’Rourke and Pink Floyd are sued by two American lawyers for unpaid fees (for 116 675 $).

With the beginning of the US concerts who are mainly focused on the outdoor and stadium location, some elements are added or expanded.


« Pink Floyd wanted to include additional inflatables for the American leg of the tour and asked Aubrey Powell to find a new inflatables designer. Powell was a member of Hipgnosis, the graphic designers responsible for the album cover. He contacted Andrew Sanders, an art director with experience of wax-work figures. Uncertain where to begin, Sanders contacted the doorman at the Palace Theatre in London, the unofficial Yellow Pages for specialist theatre skills. Two years previously the doorman had taken down Fisher’s details after he had worked on some inflatable props for a Barry Humphries show. The link was established with the Pink Floyd production team »

« Rock Sets: Astonishing Art of Rock Concert Design », Sutherland Lyall, 1992

Examples of the Sanders works for Hipgnosis.

Mark Fisher:

« (The European models props are) not nothing compared to what we are planning for the American tour, we’ll have nine extra blow-ups. One of our ideas is a blow-up refrigerator with a door that opens and  spills out sausages. Another is a VW beetle »

« Welcome to the machines », Melody Maker, 26 March 1977.

« The new set of inflatables represented a nuclear family. Made up of a businessman, his blowsy wife on a sofa, a son, daughter and half a child, it was an ironic reference to the official statistic that the average British nuclear family had 2.5 offspring. Associated with these anthropomorphic figures were typical consumer durables: a television set, a refrigerator and a full-sized Cadillac - and the standard reference of the time to police and authority, the giant pig. Pink Floyd asked Sanders and Fisher to create the family of new inflatables together with their control mechanisms. Fisher asked Park to collaborate on engineering their rigging and controls - and tour the show' from Miami to Montreal for six months.

Roger Waters wanted the figures lobe life-size, but Fisher thought they should relate to the scale of an auditorium. Although they reached a  compromise of three times life-size, he was still unhappy. The rescued helium-filled pig was used for publicity, and new' show pigs made were from its patterns. Sanders and Fisher sculpted the scale models for the inflatables in styrofoam and, using an overhead projector, enlarged tissue paper patterns from them up to full-size cutting patterns. 

Rob Harries, ex-Hornsey College of Art student and a member of the British pneumatics circuit, sew-ed the figures ready for installation and inflation with industrial fans. Park engineered the rigging and designed and built the raising and lowering systems for the inflatables »

« Rock Sets: Astonishing Art of Rock Concert Design », Sutherland Lyall, 1992

From the concept to the conception: the inflatable Cadillac

From the concept to the conception: the inflatable Cadillac

Adverts for the US leg of the tour

Adverts for the US leg of the tour

Adverts for the US leg of the tour

Arrival of the band in USA

16 April, The Floyd gets a platinum disc for the sales of « Animals » in USA by RIAA (one million units for the LP).

22.04.1977 Miami Baseball Stadium, Miami, FL, USA [30]

One of The inflatable pig blew up one again.

24 April 1977 Tampa Stadium, Tampa,USA

Picture by Michel CURI (left)

« Two rock events - an incredible one inside, and an unfortunate one outside - happened at the stadium Saturday Night. Inside, the British rock group Pink Floyd entertained - and that's a gross understatement - « a world record crowd for one act of 83,223 » (...) The show started promptly at 9 when the band's own British airplane (BAC-111) flew so low over the stoned crowd that it shook the Stadium. Ten minutes later the band went into a number called Sheep, and dozens of life-size paper sheep were parachuted on the delighted fans. 

The came seven huge balloons, including a 50-foot replica of the pig shown on the cover of Pink Floyd's latest Columbia album « Animals ». The pig was floating on wires over the heads of thousands of fans on the field, while the band was soorting out a tune called - you guessed it - Pigs. 

The fans couldn't get enough as they stood and screamed for an encore. The band gave Money from their classic « Dark Side of the Moon » album with appropriate film and the seemingly ended the show with a spectacular firework display that resembled Niagara falls. The fans screamed so loud and so long that the four musicians came back and for the first time on their 22-show-17-city tour, did a second encore called Us and them from « Dark Side of the Moon » »

« Stadium rocks inside and out », unknow title, May 1977.


« From the throbbing, ominous bass notes throughout to the screaming on Careful With That Axe, Eugene, to the eerie guest vocals on Dark Side of the Moon, there's always been a sinister quality in the music of Pink Floyd. And ever since Roger Waters took on the main songwriting chores for the English group on the last three albums, it has moved past space-rock and head music into social criticism.

Pink Floyd — David Gilmour, Roger Waters, Richard Wright and Nick Mason along with Snowy White (that's what the PR man in New York said) on some guitar and keyboards and Dick Parry on sax — has managed to blend the free-form, amorphous instrumentation with lyrics focusing on hypocrisy and greed. Floyd has honed its sounds to evil perfection, taking the mind to the brink and then bringing it back again. This is truly frightening stuff and in Floyd’s stage show at Tampa Stadium Sunday, the second stop on the 20-date, 26-show tour, the group had visual counterparts to the fear and trembling throughout the music. Not for them the spitting of blood and the cutting off of chicken heads; they stand up there and concentrate on playing the complex, multi-layer music, letting previously shot film handle the visual theatrics. Floyd stayed almost exclusively with material from the last two albums, doing one set of material from the latest album, Animals: Pigs on the Wing, Dogs, Pigs on the Wing (Part two) and Pigs (Three different ones).

After a break, delayed by adjusting a movie screen, Pink Floyd did material from the Wish You Were Here album including Shine On, You Crazy Diamond, Welcome To the Machine, Have a Cigar and additional sections of Shine on You Crazy Diamond. They encored with Money, off the Dark Side Of The Moon album.

The one minor distraction at the concert was the weakness of the vocals, particularly on Have a Cigar and Shine on. You Crazy Diamond. Apparently multi-tracked in the studio, Floyd’s live vocals cracked and broke. On other groups, it probably wouldn't have mattered but for Floyd, it reduced them from other-worldly messengers to humans.

The sound system was nothing short of magnificent, with auxiliary speakers on both sides and at the rear of the stadium cutting in at various points during the concert, sending whoosh-2 mg winds and animal sounds flowing through the stadium while the group’s music played on from the front.

At least half of the near 40,000 fans saw the band as four-inch musicians. Sitting so far back from the stage, the audience was physically passive but mentally live-wired, minds skittering like water bugs on water and the “fishes" fireworks periodically shot up from the crowd. On a screen above the band during the second part of the show, images flitted and transformed: An android man to a butterfly; a river of blood; a snake whipping out and cutting off a man's head, the skull lying motionless as the group went into: “Welcome, my son, welcome to the machine/Where have you been?/ lt's all right we know where you've been..."*

That song, from Wish You Were Here, uses the machine as a metaphor for the all-encompassing recording industry and the whole sign-up-fast-have-a-cigar-you’re going-to-go-far mentality of recording as big business. Floyd examines the seeming contradiction of big business types making millions off music of the people — music they probably don’t understand and almost certainly don’t like. And the group, as if to say it is not above what it is criticizing, has put images of its own album playing on a turntable and cash registers ringing up sales while singing about greed.

But if Floyd examines the group’s situation on Wish You Were Here (including a plea to founder Syd Barrett, “the crazy diamond’’) and Dark Side of the Moon, it takes a broad swipe at society on Animals, Floyd's album-long fable. On Animals, the group depicts persons as dogs, sheep and pigs. But again, even while scathingly attacking both the victims and victimizers of society, Floyd is not above its material.

In the only first-person lyric contained in Dogs, Floyd sings: “I gotta admit that I'm a little bit confused/Sometimes it seems to be that I’m just being used/Gotta stay awake, gotta try and shake off this creeping malaise/ If I don't stand my own ground, how can I find my own way out of this maze.” 

But Floyd, despite the ominousness of the music, offers hope, a triumph of humanness over machines, people over technology. It is the dogs who lose, “But it’s too late to lose the weight you used to throw around /So have a good drown, as you go down, alone/Dragged by the stone."

And it is the individuals who win, evidenced by the last song on the album. Pigs on the Wing (part two): "You know that I care what happens to you/And I know that you care for me,/ So I don’t feel alone,/Or the weight of the stone … »»

« Floyd's Dark Side captivates », The Tampa Tribune, 29 April 1977


« Name a rock band that fills Tampa Stadium, and you've also named a group that did all its musical groundbreaking a long time ago. A handful of so-called supergroups - Led Zeppelin, Jethro Tull, Emerson Lake & Palmer — attract hordes of celebrants to their outdoor parties, despite ever-climbing ticket prices. Yet these bands — including British space-rockers Pink Floyd, who visited the stadium Sunday night — stopped making exciting music several years ago. Instead, they crank out cutely packaged albums that sell magnificently despite their gross inferiority to past products. And they tour the U. S. very successfully.

About 37,000 fans paid up to $12.50 (plus $2 parking) to catch “The Floyd” Sunday night. That's just too much money for too little kick.    

Not that it wasn't a fine night for partying. Cool constant breezes swept over the concrete, wing-shaped edges of the stadium. The remodeled facility has plenty of space, as long as one avoids the unspeakable human crush near the stage.

Hut at those prices (the first 20,000 tickets were sold at a "bargain" price of $8.25) people should expect more than two hours of spaced-out middling. Okay, so the Floyd also showed us some clever animated cartoons on a giant round screen. And their light towers did move up and down in obviously expensive fashion. Basically, though, the vaunted Floyd power proved to be only a mediocre exercise in space Muzak (…) More often, space music is dull. It was dull Sunday night, as the Floyd droned through two hours of electronic background sounds. Even the audience, a massive collection of presumably devoted followers, seemed more sub- Pink Floyd visited Tampa Stadium Sunday night. Dued than one would expect after two 60-minute sets and a mechanical encore. Can we blame the men in Pink Floyd — all of them 30ish with households to support — for their part in this transaction? Certainly not. Can we blame the promoters for their efficient set-up? Of course not. Can we perhaps learn something about the values of young people, people who will scrounge for weeks to pay $6, $10 or $12 for a two-hour session with loudspeakers and trodden tootsies ? »

«Pink Floyd is lost in space», Tampa Bay Times, 26 April 1977

22 April 1977 Miami Baseball Stadium, Miami, USA

26 April 1977 The Omni Coliseum, Atlanta, USA

« The self appointed guardians of space rock in the I970's Pink Floyd, made a less than-triumphant return to Atlanta this week Playing to a sellout crowd in the Omni. Tuesday night. Pink Floyd did very little to excite their anxious crowd In fact, the hand almost accomplished the opposite in a very un inspired show.

The hand started the three hour show by showcasing their newest release. « Animals » Following the album track for track, the band moved through Pigs On the Wing. Dogs, Pigs (Three Different Ones), Sheep and Pigs On the Wing (Part Two).

This first half of the show was practically flawless, the band reproduced it's recorded sound almost lick for lick (although much of the material was provided courtesy d the miracle of pre-recorded tape) and had the audience well in control when they took a rather lengthy break Expectations were high at this point and for good reasons The opening set was impressive; the hand was solid and the sound system was remarkably clear, for the Omni at least. Bassist and vocalist Roger Waters proved that be dominates Pink Floyd not only in the studio but on stage as well Vocally. Waters was only adequate, as is the case on the group's various records, but instrumentally he was superior.

Moving from bass to acoustic guitar to electric with almost no change in quality. Waters had provided a very enjoyable first set of music. 

Guitarist David Gilmour was not so impressive In the first half of the show, one was tempted to believe Gilmour was just a bit timid working with the new material from « Animals » on the group's first tour behind the release. 

But when Pink Floyd came back for their second set. it was obvious Gilmour was bored with what he was doing and that was evident in his guitar work


That could have been a result of the material though Playing from the very disappointing "Wish You Were Here album, the band had to rely more on an animated visual show rather than music Selections in this set included "Welcome to the Machine," "Have A Cigar.'' and "Shine On. You Crazy Diamond " As their encore number, the group did. appropriately enough. “Money" from "Dark Side of the Moon . "

Followers familiar with Pink Floyd's varied history would have been disappointed with the show while some of the group s more recent fans were probably pleased with the selections featured. Roth groups would have to agree that while Pink Floyd had all the ingredients needed for a powerful performance. the band lacked the enthusiasm to pull it off »

« Space Rock vanguards uninspired at best », The West Georgian, 29 April 1977.

27 April 1977, a launch Party is organised for the future concerts in New York. The parade began in the streets of New York and finished at Central Park.

On the same time, the band advertises the future West coast concerts.

28 April 1977 Assembly Center, Louisiana State University, Baton Rouge, USA

Photographies by Greg ELLIS.

Soundcheck. Photography by Greg ELLIS.

30 April 1977 Jeppesen Stadium, University Of Houston, Houston, USA

Pictures by RockinHouston.

The concert was initially scheduled at the Summit Baseball Arena but was changed for the Jeppesen stadium shortly before the  opening of the reservation


Michael Hutchinson (audience member):

« I was not a fan at the time but was dragged along by a girlfriend who was really into them. It took place at Jeppesen Stadium, previously a high school football stadium in the Houston school district. All I remember after 40 something years is that it was pouring down rain and we were covering up with trash bags that some enterprising person was selling for maybe $1 each. 

I believe the band made a valiant attempt at playing but I really don’t remember if they were able to finish the show. I will be 70 years old in a few months and now believe Pink Floyd are one of the greatest bands of all time »

« Pink Floyd : I was there », Richard Houghton

Nick and Rick leave the Houston stage.

The crew, backstage at Houston

« Das war fie Mammut-show des Jahres! », Pop, April 1977 (Germany)

MAY 1977

With the outdoor locations (mainly stadium), the band change the scales of his special effects.

The band tested a « flying sheep » model.

May 1977, the Canadian press announces the big event of the year with this concert of the band at the Stade olympique de Montréal.


Allan Frey (Pink Floyd's public agent):

« Of course, (the band) looking forward to playing at the Olympic Stadium. They know how the Quebec fans feel about them and it's a special feeling for them, too »

« Say, who are these guys ?», The Montreal Gazette, 6 July 1977

1 May 1977 Tarrant County Convention Center, Forth Worth, USA

4 May 1977 Veterans Memorial Coliseum, Phoenix, USA

The day after, Rick Wright attends the Grand Prix of Phoenix with Nick Mason.

6 May 1977 Anaheim Stadium, Anaheim, Los Angeles, CA, USA

« Nobody could ever accuse Pink Floyd of understatement. Their vision, for all its populist posturing of late, is grandiose and loftyand their music, too often dismissed as sterile, is meticulous and artful—the state-of-the-art rock. But in concert, Floyd's art translates as Show. The brilliant portrayal of lunacy and alienation that illuminated Wish You were here and Animals—the staple of their concert program—has been diffused by a theatrical style that aims for impact. It is that very fondness for exaggeration, though, that sus-tains Pink Floyd's behemoth appeal. As excessive as they can occasionally be (their show includes no less than seven hugs helium balloons, three firework fusillades and one mammoth circular projection screen), they arc not mindless practitioners of overkill. Instead, they a rerunning caterers to hedonism, both the aural and visual variety, and their concerts are sensory banquets. But just as a banquet can be license for gluttony. so may Pink Floyd's wide-eyed audience find the current show a hit too much to savor. True to the spirit of hedonism. the senses are inflamed Porcine blowup (...)as much as satisfied. On their last tour. Pink Floyd lugged along a shell of an air-plane as a prop. At Anaheim Stadium, they had a real plane buzz overhead with the salutation WFLCON. PINK utter, ablaze in computerized lights on the under-side. Underneath such a display and the towering hoists and cranes that flanked the outfield stage.The Floyd were niece specks, incidental dwarfs in the Making of their Own music. Likely that was their intent. Pink Floyd has always been a faceless group. Their fins would be hard-pressed to mullet, single member, and even mom at a loss to pick them out at a singles bar. If they ever do play either the dark side or the light side of the moon, rest assured they will bedeck those static craters with helium-filled pigs and acid-hoed light shows—any device to heighten their own anonymity. 

Their musk, when not scattered by an erratic mix, was typically full of splendor, scenting to come from the sky rather than from their arsenal of sound ...quinine:it. David Gilmour modified his double-line style of lead guitar with Rangers and tape de-lays, imparting a gripping. appropriate tone of dissonance to the opening Animals segment. Underneath. Risk Wright's lacy synthesizer tills and tense' organ textures mined deftly with Roger Waters' repetitive bass lines and Nick Mason's tuneful rhythmic fluent,. Together, the quartet wove a taut net of powerful sound disproving the oft-stated notion that electronic musk is emotionless. Their passion flowed with a natural force and —dare I say ?—ease, impressively full and balanced. Out ultimately n Pink Floyd concert is as much an optical show as a musical one, and it is in this respect that their stance can seem coldest and most f rightening: when a ghostly pig—look-ing fresh from the pages of «Animal Farm»— a flamed over their cheering crowd aid then sacrificed in a gratuitous burst of flame, the commentary couldn't be more obvious or repulsive. During a rabid, Esther-like animation sequence illustrating the Wish You Wen. Here half of the program, they present a decapitation scene (the head then rots away to a grimy skull), a S111 of blood-sprouting tentacles that turn into clawing hands, and a raw muscle twitching on a hook. One can't help but wonder why they impose such nightmares on an audience so obviously eager to interpret Floyd's messages as artful revelations. Where is that spirit of transcendence and humanity that has colored even the bleakest of Roger Waters' lyrics? Where is the restraint that elevates their music? Welcome to the machine, indeed. The predictable "Money" en-core, with its panoply of fireworks and a blockbuster of a Gilmour guitar solo, seemed a fitting conclusion to the Floyd circus. Interestingly, while their music has become more humanistically cynical and melodious, their concerts grow more and more perfunctory and aloof, amounting at times to little more than a bombastic insult. Unlike their records, Pink Floyd's shows never really display the organic confidence—or artistry—of one of the most innovative rock en-sembles of the last decade. It's more of a precocious affair, a forum for acrimony and disdain, as troubling as it is magnificent. That their audiences never rise to question the contradictions—but rather to beg for more—only underscOres their power as illusionists.»

«Pink Floyd's Optic Nerve », Rolling Stone, June 1977.

7 May 1977 Anaheim Stadium, Los Angeles, USA

Photographies by roger RESSMEYER.

«Southern California's 1977 outdoor rock season started Friday night with a splash. Moments before Pink Floyd took the stage at the 45,000-capacity Anaheim Stadium, it began raining. Thousands of fans who had paid an extra dollar to sit on the field rather than in the grandstand stood up to consider their next move.

Most pulled out some protective wrapping, but hundreds raced for cover. The only concern, however, seemed to be that the show might be canceled. When an announcer guaranteed that Pink Floyd would soon be on stage, there was a huge roar.

The rain had stopped and every bit of sitting room on the field was again occupied by the time the English rock band took the stage at 8:20. The showers didn’t return during the group’s three-hour set. Considering the many special effects employed by the band Friday, some cynic wisecracked that the rain had been part of act. If so, it worked better than most the other devices, Rock fans have long known that outdoor concerts are more social than musical events. 


Even with the huge closed circuit TV screens that are sometimes employed, there is no chance to see the musicians or watch the interplay between them.

I remember seeing Aerosmith last summer at Anaheim and not knowing until a member of the stage crew told me the next day that guitarist Jeff Beck had joined the band on stage for the encore. Similarly, | wonder how many Pink Floyd fans realized Friday that the quartet was augmented by a guitarist/bassist and keyboardist. But there is a festive, picnic-ish tone to the outdoor shows that make them popular. Six more are due this summer at Anaheim. Since Pink Floyd—one of the first bands to be linked with the progressive and underground pop movements in the late '60s—is such a faceless group, its chances of making a smooth transition from the “intimacy” of the customary 18,000-seat rock arenas to the baseball stadiums seemed better than most"

« R&R weather outlook Rain'n roll», The Los Angeles Times, 10 May 1977

« Meddle » and « Ummagumma » get double platinum (more 1 000 000 copies) in USA on May 1977. Steve O’Rourke received the awards in the name of Pink Floyd by Rupert Perry, vice-president of A&R for Capitol Records, and Bruce Wendell, vice president of the marketing division for Capitol Records.

Ruppert Perry, Steve O’Rourke and Bruce Wendell

The advert and the poster for the Oackland shows were designed by Brandy LUTEN.

9 May 1977 Oakland Coliseum Arena, Oakland, USA

Photographies by Larry HULST.

This date is well-know for the quality of the show and by an unusual rappel: Careful with that Axe, Eugène !

10 May 1977 Oakland Coliseum Arena, Oakland, USA

«Pink Floyd brought their superbly staged show to Oakland Tuesday, May 10. Floyd sis the last of the British first-invasion heavyweights, what with the Stones’ future in serious doubt. Lately P.F.’s trial balloon has been punctured, just like the sixty-foot plastic inflated pig Floyd sent across the ceiling of the Oakland Colliseum. This reviewer is happy to announce that both have been patched up quite nicely, thank you. The pig, along with about six other inflated figures of thirty-foot lengths, were an integral part of the opening half of the show, which was totally occupied with ANIMALS. In doing the various movements of the piece the band members switched instruments frequently. Roger Waters, the bassist, worked also with a Gibson acoustic and a six string electric guitar with great consummation and added a dreamy Keith Richardsish voice to lead guitarist/vocalist David Gilmour’s precise guitar picking and husky vocals. The group's crisp instrumental work hinges on Water’s bass playing style in which a pick is used to get sharp low notes rather than having a droning lower end. By Waters’ method of picking below the ,bridge (which is very odd), the band is able to sustain a chunking type of rhythm.

Gilmour's guitar technique was sharp and biting, with the probing instrument - played off against the second guitarist whose name was not announced. Pink Floyd presented no persona, being content to let the music to the communicating. They said not a word to the audience or to each other throughout the evening, yet one could sense the minor subtleties in their stage direction, a cocked eye or turned foot. Each of these signals were immediately followed by a shift in the music. It is surely these transitions fpr which Pink Floyd is known. They created and have sustained technical excellence in this area of music. Rut Flovd exhibited more.

In their fifty-minute performance of ANIMALS, they proved that their music was healthy and alive by varying the instrumental focus constantly. The second lead guitarist also played pass and acoustic six-string guitar. Regular band member Rich Wright added at least seven different sounding keyboards, with synthesizer obviously favored. Wright’s work provided the backdrop for the P.F. sound. Not only the music but the members themselves looked quite salubrious. Gilmour and Waters looked as if they had just come off the soccer field, although the former’s chin had begun to sag and the eyes to droop a bit more.

After taking a twenty-minute break (when some of the approximately two hundred bulbs in the huge lighting system were replaced) Floyd returned to do all of WISH YOU WERE HERE. It was also done in the space of fifty minutes and featured again Roger Waters on much of the lead vocals (in contrast to the album, where Gilmou’r voice is the one heard most of the time) with the inclusion

this time of veteran P.F. session-man Dick Parry on sax. It was during this segment that the dry ice really began to flow, with the visual slide presentation beginning to click. Scenes shown were mostly of a barren nature, which reflected a kind of Magrettish sense of humor. The only portion of the show that seemed not up to snuff was the two encores, “Money” and “Us and Them" (both off of DARK SIDE OF THE MOON) where the slides presented were the same ones used in their 1975 tour. This cheapness marred an otherwise splendid presentation »

«Pink Floyd masters Oackland», California Aggie, 18 May 1977

12.05.1977 Memorial Coliseum, Portland, USA

With a $10 ticket, the Pink Floyd show is the highest cost for a concert at Portland. Even with a high-priced ticket, the gig was sold out in 53 minutes (a new record for Portland).

The band take a rest before the second leg of the US tour. David and his family take vacation on Hawaii, Roger does golf courses, Rick Wright stays in USA.

On 27 May, a collection of 14-short film is released on cinema under the title « Fantastic Animation Festival ». This film includes the famous « French Window » segment by Ian Emes.

JUNE 1977

The promoter of the future Stade Olympique concert, Donald K. Donald, says to the Canadian press that 75,000 tickets are on sale, but that figure may be stretched 80,000. The newspaper « The Gazette » (16 June issue) is worried about the ticketless Pink Floyd fans who could be the source of troubles around and inside the stadium.

The second leg of the US tour begins at the Milwaukee Stadium. This concert is considered as a real event for this city.

The band arrival at the Mitchell Aero Club of Milwaukee.

Milwaukee rehearsals

15 June 1977 County Stadium, Milwaukee, USA

« Milwaukee is getting somewhere when two flying pink pigs and about 60,000 rock fans feel at home in County Stadium. The Inflated pigs were a star attraction at the Pink Floyd concert, attended by a record Stadium crowd. Their delightful flight was unmarred by some of the disturbing nonmusical events that accompanied Pink Floyd here two years ago. The last time, Milwaukee police got carded away searching many young concertgoers as they entered the Stadium. The chief aim was to exclude entry of cans and bottles that could become injurious missiles. However, the kids had legitimate complaints that some of their possessions were illegally confiscated. This year, she ban on carry-ins was well advertised. Stadium personnel Pee patrons a bade check but few hassles. Police stayed cool. And the kids generally handled themselves well. They left the playing field in good shape for ball games, vindicating the Park Commission's good decision to permit fans on the turf. Of course, there was litter. but mostly paper, not the bottles that posed problems before. After the giant pigs, it's bard to imagine what will hit the Stadium next. But besides the usual baseball and football games this year, more rock concerts are scheduled. The community can rest easier. The kids and cops have demonstrated that floating pigs and Pink Floyd can work Just as well In the Stadium as flying pigskin and the Packers »

« Passing the Pink Floyd test », Milwaukee Journal, 17 June 1977.


« In the dark backstage, his hair standing on end from the static charge, Fisher would fill a pig with propane and helium, alert the line of crew men holding the mooring rope behind the stage, let it fly up more than 100 metres (330 ft) and press the ignition button. In Milwaukee, Fisher and winch boss Richard Hartman decided to experiment with a mixture of acetylene and oxygen instead of propane. The band had been given a special injunction to keep the noise down because of the proximity of a veterans’ hospital. Fisher sent up the pig with the new mixture inside it and pressed the button. There was a huge flash and the pig disappeared (far right). A split second later they heard on enormous detonation in the night sky. The cable crew went down like dominoes, showered with confetti. The band was badly shocked »

« Rock Sets: Astonishing Art of Rock Concert Design », Sutherland Lyall, 1992


60 000 people attended this gig.

17 June 1977 Freedom Hall, Louisville, USA

« A 30- by 15-foot helium-filled pig with glowing amber eyes. Two human counterparts in a helium husband and wife. Billowing green smoke and fireworks. A spell-binding animation film in which a raw nerire is strung up on a meathook, only to be ripped off by a wild animal, who is then devoured himself. That and more made up the spectacular fusion of music and theater that was the Pink Floyd concert at Freedom Hall last night. It was an evening that not many of the 19,000 who attended the sell-out show are likely to forget, and they spared no show of appreciation for the eyes and ears that was the Pink Floyd performance.

From almost every aspect, it was an unusual concert. Never once wavering in professionalism, the band began the show promptly at 8 p.m., launching into all of its newest album, “Animals,” and trotting out the helium props at precisely the right moment to complement the lyrics.

After the break, they returned to play all of their “Wish You Were Here” album from 1975, in the sequence the songs appear on the record. With the helium balloons packed away, the band then1 began the mesmerizing animation sequence that was anything but your basic, average background light show. In the late 1960s, Pink Floyd was one of the foremost bands to listen to as you dropped acid, meditated or read science fiction. Critics called their music “space rock,” not only for some of its celestial subject matter, but because it was essentially experimental, free form, electronic music played on guitars, synthesizers and other keyboards and drums. Lyrics were sparsely employed.

Organized in 1967, Pink Floyd was said to be the first English rock group to perform with a light show. Certainly it was one of the first British groups to play psychedelic music, an American invention.

But that was before the release of their album “Dark Side of the Moon” in 1973. With that, Pink Floyd seemed to sing not so much about the escape of outer space, but about being spaced out, or, really, bummed out. Their music had always bemoaned their disillusionment and despair over the pace of modern day living, about the distance technology puts between people, and about man’s inhumanity to man. But starting with “Dark Side of the Moon,” carrying through their next album, “Wish You Were Here,” and showing up again in “Animals,” Pink Floyd became increasingly depressed about life not only on this planet, but in all the universe. They began to return to earth with “Dark Side of the Moon,” and as they did, their sound became more structured, with lyrics (by Roger Waters, who also plays bass guitar) becoming more plentiful and taking on equal importance to the music. But when they came down from the heavens, they also came down in spirit. Where once they had been talking about reaching the sun, they began to talk of the dark side of everything, not only the moon.

In “Animals.” the band is at its most sullen, despondent and paranoid. The optimism of the ’60s has fizzled like a fallen rocket and hardened into ’70s cynicism.

Overall, it seems to be saying it wasn’t so terrific up there in space, but it’s even worse down here where the pigs and sheep and dogs live, and everybody falls into one of those three categories. A more pessimistic bunch you’re not likely to find.

There’s irony, then, in the fact that everyone has such a good time at Pink Floyd shows. They are, in a way, a celebration of man’s futile existence and his small place in the order of things. It’s as if they’re saying, “We're all in this together, so we might as well enjoy it.”

Everyone enjoyed it last night, and part of that had to be because of the superb squad sound system (including 80 400-watt amplifiers) around the cavernous Freedom Hall. (The music drowned out the vocals for much of the first half, but that problem was cleared up by the second.)

But there’s another irony in the Floyd performance, too. For all their anguish over mechanization and technology, Pink Floyd delivers a show that is very much like what they sing about in “Welcome to the Machine.” David Gilmour’s guitar solos are chilling and powerful, and Roger Waters’ vocals are properly anguished when need be (although his voice just may have been strained last night), but there is little emotion in Pink Floyd’s music. Music was not really the point of the show last night, though, and if anyone went to hear the precision musicianship Pink Floyd is known for, they found it. But they were probably too distracted by the band’s trappings, which guided the audience away from the musicians themselves and into the metaphysical.

And that’s probably exactly what Pink Floyd wanted »

« Pink Floyd concert combines theater, music at its best », The Courier Journal, 18 June 1977

19 June 1977 « Super Bowl of Rock 'n' Roll », Soldier Field, Chicago, USA

According « Cashbox », this concert was attended by 67,000 peoples.  But the Floyd was not agree with the promoters about the number of tickets sold. The band will sue the promoters in the courts two years later. 

137 persons were under arrested for possession of marijuana.

21 June 1977 Kemper Arena, Kansas City, USA

23 June 1977 Riverfront Coliseum, Cincinnati, USA

« There was a half moon lurking over Riverfront Coliseum Thursday night when Pink Floyd brightened the stage. “You can almost see the dark side of the moon right," said a fan. With Roger Waters (bass guitar, piano, beat frequency oscillator) singing lead vocals, David Gilmore « (replacing Syd Barrett) playing lead guitar and also doing lead vocals, Nick Mason (drums), Rick Wright (organ, piano, cello, fiddle) and Mike Lowe on lights, they had the best in British space-rock.

They came on with a great deal of flash and a lot of class. Their first set was the album "Animals," Illustrated with six inflatable monsters — a man, a fat lady on a couch, a television, a car and a lady holding a kid's hand. At the end of the set, Pink Floyd’s blow-up pig. the one that burst into flames at one outdoor concert, arrived. The pig moved the whole length of the coliseum. The second set started off with* "Shine On You Crazy Diamonds," "Have a Cigar" and "Welcome to the Machine." When Pink Floyd left the stage for the first time, and the coliseum lights went up, the shouts of "More! More!" were deafening ».

« Pink Floyd shines », Dayton Daily News, 24 June 1977


« (…) the immense success of the extraterrestestial rock group Pink Floyd, which-dazzled another sell-out crowd Thursday night at Cincinnati Riverfront Coliseum, the rock capital of the tri-state. Pink Floyd is escapism at its best. Combining outstanding musical talents with theatricals, Pink Floyd simply overwhelms its fans with its visionary outlook on life. For two hours, they can transport tou from dreary Planet Earth and allow to to fantasize visiting faraway places, where the evils of our society have been eliminated. To achieve this spiritual visual and musical transportation, Pink Floyd fuses the audio with the visual to create the appropriate mood and atmosphere. A Pink Floyd concert then becomes much more than your average concert: it's an EVENT.

Because Pink Floyd appeals to the visual and audio senses the only way to truly appreciate the groupe is to see them in concert, where they excel. And that they did in their Cincinnati performance. Playing songs mostly from their latest hit album, "Animals". Pink Floyd mesmerized the audience with its message laden lyrics, brillant musicianship, spectacular animation on a huge 30-foot round screen, the collection of helium-filled animals which floated near the ceiling (including the famous pink pig), and 

the sensational special effects including fireworks, explosions, flashing lights and fog. Among the songs performed were "Dogs", "Shine on you crazy diamond", "Welcome to the machine" and "Pigs on the Wing, Part II".

At the end of the two-hour set, Pink Floyd retired with a simple goodbye, and the house lights lit up. The crowd howled its disproval, beginning a rhythmic chanting and clapping which eventually brought Pink Floyd back for an encore. Ironically enough, the encore was "Money" and the giant screen showed images of British money flowing in rivers from a mini of starving children on the world of the money again and of records spinning, etc ... Then it was over, and Pink Floyd wouldn't return despite an audience which obviously wanted more.

The void led by the group's absence was a harsh reminder of the commercialism that now surrounds the rock world it's a business now consisting of two-hour performances and one encore. Have the members of Pink Floyd forgotten the lyrics to their own song, "Money" ? It almost spoiled an otherwise dazzling evening »

« Pink Floyd dazzles sell-out concert crowd », The Journal News, 25 June 1977

Rehearsals. Photographies by Jonathan PARK

25 June 1977 «World Series of Rock», Municipal Stadium, Cleveland, USA

Right photography by Jeff LADEN.

John Gajdos:

« In 1977, I was 19 years old. I had just graduated from Lorain High School in 1976. I went to see Pink Floyd at the Cleveland Municipal Stadium. I still remember it well. It was Saturday, June 25th. Several of us piled into a van and drove out from Lorain. We got there a few hours early and cooked out in the parking lot. There was quite a mob squeezing their way into the stadium. We headed straight to the center of the field to claim a spot.

The day was cloudless and very hot, and we didn’t have any cover from the direct sun, being we were dead center of everything. Music was playing through the four giant speaker stacks around the stadium, set up for quadraphonic sound. The crowd was so thick; people were stumbling over each other, some due to the fact that they were stoned out of their minds (…) The band was still not on stage. The sun was low in the sky and people were getting antsy. Then, the sound slowly started building again. We thought we were in for a few more minutes of the annoying noise. Then, quite suddenly, the sound became very loud and emanated from the sky above us. We all looked up to see the nose of a very large airliner, coming ridiculously low, right over the stage end of the stadium. 83,000 people looked in the air as the plane just cleared the top edge of the structure by what had to be less than 50 feet. The plane was gone in less than three seconds and Pink Floyd was on stage playing the first note of the concert. An amazing roar of approval went up from the vast sea of fans. The show had begun and we were in for one of the most amazing evenings of our lives.During the show, we were entertained with amazing lights and smoke. A giant round projection screen displayed crazy dream like segments and surrealistic cartoons. The quadraphonic sound was amazing. The music swirled around us and bounced back and forth in all directions. A series of inflatable figures rose one by one from behind stage. The pig dad, the pig mom, the pig kids, pig dog, pig car, pig refrigerator all floating large behind the band. In the still air, the smoke hovered above as a giant pig floated over the crowd, making its way toward the stage. It’s menacing, deeply etched expression, was only made more ominous by its probing laser eyes that cut red shafts through the smoke. As the song ended, the pig was left dangling overhead. Then, the pig turned around and began to head to the back of the stadium. An announcer warned that whoever had hold of the pig had better let go, or the show would not continue. This message did not go well with the 83,199 people who did NOT have hold of the pig, so the pig was released, and it was properly retrieved, and the show continued.

A $3000 fireworks display was included, and back then, it was a lot. Some of the fireworks exploded into sheep shaped parachutes with weighted feet. They floated down into the sea of flailing arms where they instantly deteriorated, ripped to shreds by eager fans. I heard that the feet were filled with commemorative coins of the show. In the picture below, you can just make out the sheep in the sky off to the left. After playing « Animals », the show continued with another entire album,  “Wish You Were Here” and for an encore, they played the songs “Money” and “Us and Them”. The crowd went wild. The overwhelming experience left us raving about what we had witnessed, while we made our way to the exits, and sang songs from the show »

« Pink Floyd - Animals - Cleveland -1977 », John Gajdos Website


« How about the "younger” set? Didn’t they appreciate the rare treat of the show that is Pink Floyd? As a 1970 grad put it, "They’re here. Not up here in the seats with us, but they’re here. Train the binocs on the field.” Sore enough, those who had waited days in order to be first in the gates when they opened at 4 for a 9 p.m. showtime were most visible staked out on blankets with flags and signs proclaiming their faith in rock and their own origins. As the rains came shortly before showtime, they put their ingenuity to work and did what they had to do. Made tents of the plywood and astroturf-like grass put down to protect the grassy field and had themselves an instant village. They snuggled inside to keep dry, and the only sign of life inside was an occasional thrown Frisbee that seemed destined to land atop the systems booth, making it look like a giant Frisbee trap. When the rain ceased, almost exactly at showtime, they became the new disciplined generation once again, dismantled the works, turning village back to protective turf — the better to lie back and enjoy the special show that is Pink Floyd. Pink Floyd fans are knowledgeable. Almost all seem to have every album the group has recorded and many were ready to compare each visual with the remark, "This is Just like, or unlike, their last show in Bast Bumfark, or much better than the one we traveled seven nights and four days to see in Pittsburgh.” Chatter with new friends centered around who had traveled farthest to Cleveland. They were enthusiastic enough to plunk down Mg bucks to see the group live, and expected a show as well as good music. They warmed up by applauding everything from an advertising-bearing plane to an occasional clap of thunder. Pink Floyd, however, more than met the challenge. From their set of umbrella-like trees, to artistic scenes on a 40-foot screen, the professional music had the accompaniment of "oobs” and "aahs” for the album, "Animals” as huge balloon figures of a pink pig, detailed sheep, and cut-out small animals careened through the air. Fans applauded at the proper times, otherwise were mute with the admiration of sight and sound — until a Niagara of fireworks signaled the official program’s end.

The traditional handclapping and match lighting brought us the "oldies but goodies” encores. AH were on their decrepit feet for "Us and Them” and were ready to leave the scene for tbhe formidable task of heading homeward in the torrent of cars and people.

Ahead of our group a mellow fan summed It all up pretty well: "It was a great evening, but I wonder what the first hellplayed would think if they could see ‘their* field covered with a bunch of rode music fans — and a flock of sheep coming out of the Ay »

« Meanwhile, on the stands », Akron Beacon Journal, 26 June 1977


« Asked how the concert was, David Gilmour replied «Fine, thank you very much». The band gave no interviews and manager Steve O’Rourke said that they hadn’t given any interviews in three years. The band spent $3,000 on fireworks for the show, and Mel Welch of Atlanta, a trained pyrotechnic oversaw them »

«No Title», Scene Magazine, 25 June 1977

The rain delayed the beginning of the concert for a half hour. Therefore, the plane fly came too early. The band used big umbrellas to protect the band from rain. These umbrellas were made in white cotton in different diameters from 4,5 to 7 meters. According the press 81,399 people attended the concert. It was a record then.


Roger Waters:

« It was a prize fight - something which wasn’t really meant to happen in a football stadium »

Cited in  Mojo magazine, May 1977

Pictures of the audience.

27 June 1977 Boston Garden, Boston, USA

« There are times when one suspects that those who comprise the English rock gronp called Pink Floyd might not take themselves nearly as seriously as do the group’s impressive legions of fans. And they are solid fans — fans who filled the Spectrum last night with a capacity of 19,500, and fans who will do likewise tonight when Pink Floyd returns to the South Philadelphia arena for a second concert. This loyalty is directed at a musical aggregation which, according to an official biography, has made :i practice of showing up at assorted “be-ins, sit-downs, freak-outs and throw-ups.” Well, so it goes with art. Especially as translated in the ’60s when Pink Floyd first made its powerhouse mark on the world of rock music. Pink Floyd presumably doesn’t show up at he-ins these days, since no one has be-ins any more. And as far as throw-ups . . . well, when it comes to rock concerts, it’s everybody to his own particular brand of kicks.

What counts is that Pink Floyd, which dates back to the British pop scene of 1967, is doing far more than hanging in there. The group keeps coming up with fresh generations of fans who are dazzled by the Floyd’s grand approach to sight and sound, no matter how cornball the sight may be at times. It was, after all. Pink Floyd which introduced England to the idea of integrated light and rock shows, and while most groups gave up on this concept as quickly as the novelty of it became apparent, Pink Floyd is still pulling it off.

Musically, it is difficult to think of any rock group that approaches its craft with more pretension than Pink Floyd. Here the thrust of “progressive rock” is toward monstrous repetition on a glorious scale. Heavy on metal for the sake of rock over- kill, with occasional journeys into acoustic monotony, presumably for the sake of artistic flexibility. Quite obviously what Pink Floyd, its constantly rekindling durability to is the group’s meticulous concern for sound and sight. During the first half of last night’s concert, for instance, the hum-drum of Pink Floyd’s program was accompanied by an assortment of inflated objects floating about — including human figures and animals. The highlight, of course, was a huge pig which drifted above the audience while Pink Floyd performed its rather mindless “Pigs” number. The second half concentrated on 1 various surrealistic and just plain weird doings on a round screen mounted behind the band. OK, the crowd loved it »

«Pink Floyd trip Lights fantastic», The Philadelphia Inquirer, 29 June 1977

28 June 1977 Spectrum Theater, Philadelphia, USA

Photographies by Terry COULTON

« It was intermission at Pink Floyd's concert at the Spectrum this city's Forum and Mark, a 16-year-old in the audience of 18.500, looked glum. He clutched a small silver pipe tilled with hashish and he muttered disgustedly. « The only problem is i've run out of matches ». His bloodshot eyes betrayed a trace of tears. Finally. his face sweaty and drawn Mark disappeared

into the halls of the arena. Five minutes later he returned. a smile on his face. waving a book of matches: -I sponged some off a security guard!" The drama was over and Mark was ready to enjoy the second half of a show by the world's most popular  head-rockers" which winds up its six-month tour of America and Europe with a concert next Wednesday before 80.000 fans at Olympic Stadium in Montreal. If Mark had not found some matches, the Pink Floyd concert might have been a bummer, because the British rock quartet is virtually unlistenable with-out the aid of mind-altering condiments. 

Without dope, the sounds and visual gimmickry of the group could be termed so much kokum. But with pot or hash Pink Floyd offers a veritable feast for the head. The group has attracted more people on its current North American tour than any other rock ensemble. It's not Pink Floyd's music, such as it is de-fin., that is the main selling point but, rather, the visual-aural package. Among the approximately 82 million worth of equipment. Pink Floyd boasts smoke bombs, fireworks, two hydraulic cranes equipped with lights, two light towers, a huge round movie screen, strobe lights, quadrophonic four-channel sound, and plastic inflatable animals. topped by a huge pink pig that emanates from a burst of smoke (...) »

« Pink Floyd's High ... », The Gazette, July 1977.


« If there’s an award for the most spectacular special effects to a rock concert, then Pink Floyd, who dazzled the rain-soaked audience Tuesday night at the Spectrum, is the ultimate winner.

The British rock group, with its melodic extrapolation and electronic wizardry, kept the 19,500 sold-out crowd starry-eyed to the stage with animated 30 foot balloons, multicolored spotlights and a circular movie screen. While sparklers and frisbees flew through the air, so did a 50 foot long « papier-maché » pig, representative of the group’s latest album, Animals. Pigs, Dogs and Sheep are among the tunes of the fast selling LP. The sound, quite loud as quadraphonic speakers were set around the arena, enhanced the dramatic performance instead of the dramatics enhancing the music.

The group—Nick Mason on drums; Roger Waters on bass; Rick Wright on keyboard and Dave Gilmour on guitar began in 1967. Ten years later, the internationally acclaimed group is showing a new path to music, with psychological overtones as was evident in the stage films of floating bodies, blood trickling through cities and man wandering through the desert. Amplified airplanes, dog barks and desert wind with the

Floydian music combined, certainly pleased the whistling crowd as a standing ovation for almost 15 minutes concluded the two hour performance. Pink Floyd, whose name derives from two American blues singers, Pink Anderson and “Dipper Boy* Floyd Council, play tonight at 8 p.m. Even if you are not an admirer of the Floydian sound, you can’t beat the Floydian light show and flicks. Where else can you get a 30-foot automobile, Uncle Sam and the fat lady in animated balloon, floating over a jam-packed arena ?»

«Pink Floyd lights up the Spectrum», 29 June 1977, The Courier Post

The  fourth part of « the Pink floyd story » is published on the June issue of « Best » (French rock magazine)

29 June 1977 Spectrum Theater, Philadelphia, USA

Roger Waters had a flue during the north American leg. Consequently, he didn’t play the encores and let his bass guitar to Snowy. 


Waters :

« I once saw a doctor who thought I was suffering from poisoning or a stomach attack. He told me that I had a viral infection or something like that, and he was sure I had stomach cramps. He had not listened to me at all, I think. In fact, I found out later that I had hepatitis. He had given me tranquilizers; we were in Philadelphia and That was the longest two hours of my life, trying to do a show when you can hardly lift your arm »

« The Complete Guide to the music of Pink Floyd », Andy Mabbett, 1995. 


This incident will be the inspiration for the lyrics of Comfortably Numb.

First adverts for the forthcoming Montreal

 show as seen in the canadian press.

JULY 1977

1 July 1977 Madison Square Garden, New York City, USA

Photographies by Elliot TAYMAN

«Let the Kraftwerks and Tangerine Dreams of this world come and go; there can be little doubt that Pink Floyd is the premier mind‐blower hypno‐rock ensemble of our time. The British quartet (occasionally augmented to a quintet or a sextet by extra guitar and saxophone players) opened a fournight run at Madison Square Garden Friday night, and wove a coldly perfect program of multimedia psychedelica. Well, almost perfect: the group's climactic flashy double mirror wheel, with the core revolving in the opposite direction from the layered outer rim, and the whole meant to cast myriad beams of light, misfired when it couldn't be coordinated with the spotlight. But otherwise everything worked with sovereign smoothness. What Pink Floyd does is blend mostly instrumental progressive rock with films and unusually inventive props and lighting effects. The rock moves dreamily along, generally mustering a coherence that escapes most such bands, and distinguished by Rick Wright's rich, exotic keyboards, Dave Gilmour's sometimes arresting guitar, Roger Waters's compulsive bass lines and Nick Mason's solid drumming. Sometimes Mr. Waters sings (as does Mr. Gilmour, to lesser effect) and the words are mostly eerie, lonely nightmares

The movies on Friday were nightmarish, too, in the second part devoted to the band's “Wish You Were Here” album. The first half of the concert was given over to music from the band's latest album, “Animals,” which is rather less spacily evocative than its earlier work. Still, the final coup de theatre, and the symbol for this entire tour, was Impressive: a huge, lowering pig, at least 50 feet long, lurched out over the crowd (suspended on a wire), its glowing eyes shooting evil beams into the smoke‐filled air (Pink Floyd had provided the smoke a few minutes before). There is a certain manipulative naiveté about all of this, to be sure, and some observers might find it suspect that a band would devote its energies to providing diversions for an audience blitzed on drugs and liquor. On the other hand, mind‐clouders are part of our times, and people who choose to cloud their minds probably have a right to be entertained just like real people. More to the point, Pink Floyd's music and multimedia work far more convincingly for those of us who haven't indulged than those of most mind‐blower bands. It's a focused, effective show, if not the most celebratory or exalting one, and for that reason Pink Floyd makes legitimate claims to artistry»

«Pink Floyd: Dreamy Rock and Nightmare Words», New York Times, 3 July 1977.


« It was an exciting, eccentric, electric, exhilarating Friday evening as the venerable English rock group Pink Floyd gave its first New York area concert in two years, opening a four-show stand at Madison Square Garden. The house was full, although perhaps not as full as the unavailability of tickets might have suggested. The crowd was predominantly of high-school age, yet an adequate sampling of older faces attested to the longstanding popularity of Pink Floyd for followers of the hard rock genre.

The rock, however, is not quite so hard as it once was. Pink Floyd's most recent album, "Animals," is not so much an extension of the group's mid-'60s origins as it is a homage to them. The 1977 North American circuit is being promoted as the "Animals" tour, and music from that album constituted the first half of the show. Following an intermission the group did an updated and even more haunting rendition of their previous album, "Wish You Were Here."

Both records have been released since Pink Floyd's last New York appearance. At that time, the band played several cuts from "Wish You Were Here," and the effect of hearing brand new material from a group of Pink Floyd's stature was, in retrospect, more powerful and captivating than a concert of all well-known tunes.

Familiar or not, the music was expertly executed, and many of the extrapolations based on the recorded versions were positively brilliant. The highly touted 50-foot pig was launched and glided along the Garden's ceiling, and several smaller stylized balloons together with animated films and many special sound effects created a moving multi-sensory impact. The crowd was certainly appreciative, but it was not attentive to the Pink Floyd concept. Ten minutes of thundering applause followed the conclusion of "Wish You Were Here," and the group returned for an encore. After a few choice comments on how the New York City unions prevented them from using their own spotlight operators and an explicit condemnation of the talents of those provided by the Garden, the band members concluded the evening with an impressive version of their well-known single, "Money." Pink Floyd and its music have aged gracefully and have retained their superlative talent, but their secrets were lost on the crowd. From the outset of the show, appreciation of the group's music and message was hin dered by armies of Madison Square Garden and New York City Police who noisily herded the crowds who persisted in wandering around the place, rather than sitting down and enjoying the show. Yet at the end, the men in blue seemed to vanish in a twinkling. The lights came up, and several groups of 14-year-olds sitting near us began to light firecrackers by the dozen. Sparks and names flared up in all directions amidst a deafening clatter. No policeman or guard was in evidence, and we left in a hurry, the mood created by

the music shattered by foolishness."

« Pink Floyd still a thrill despite rude crowd », New York Daily News, 3 July 1977


«A few weeks later I received tickets to 3 of the 4 concerts. Better yet, one pair of tickets were for the 2nd row ! The first night, for which we had our 2nd row tickets, my friends and I arrived at MSG around 7:30pm. But before taking our seats we walked around the inside of the venue to check out the massive Floyd setup. It was great to see the return of the large round screen (which made its debut on the previous tour).

We noticed that the 360-degree sound system was in place, as well as a long guide wire attached from the stage to the opposite end of the venue. We already knew from reading the concert reviews of earlier shows on the tour that this would be used to carry an enormous inflatable pink pig. Since the Floyd are known for being a punctual band, we made sure to return to our seats prior to 8pm. A few minutes later the lights of the near-filled venue went out, and the familiar beginning bass chords of Sheep could be heard emanating from Waters' guitar. Colored stage lights came on in full force to reveal our four chaps

An extra guitarist could also be seen on stage (which we later learned was Snowy White). All during Sheep I could clearly see Waters looking all around the venue. This was, after all, the first time they played at MSG. With the roar of Gilmour strumming his lead at the end of the song, two mechanical arm-like devices, emitting showers of white sparks, rose from the sides of the stage. Waters then performed an acoustic solo of Pigs On The Wing Part 1. Now it was Gilmour's turn to start out with the familiar beginning guitar chords of Dogs. This song won the audience. Not only did we hear Dave sing for the first time that evening, we also heard him break out into some of the best guitar leads of the night. During the long middle segment, several large inflatables were floated to the ceiling - a father, a mother sitting on a couch, a little boy and a car.

When the song picked again, Gilmour sang Waters' first verse (which I noticed immediately). Waters then picked up and crooned the powerful final verse to a standing crowd in awe. Several minutes of applause had passed when Waters, once again, went solo. This time for the second part of the album's acoustical bookend - Pigs On the Wing Pt2. However, this live version was different from the one on the album: Snowy White played a sweet lead guitar solo in the middle of the song. Within minutes it was Wright's turn to begin a piece. The beginning organ notes of Pigs (3 Different Ones), the final song to complete the playing of «Animals» in its entirety, drifted out to the crowd. It was during the lengthy mid-section of this song that the pig was finally revealed. With glowing eyes, he traveled along the guide wire from one end of the arena to the other, only some ten feet above the fans seated on the floor. Predictably, they were throwing things at him and trying to grab his feet (hooves, whatever). After he arrived back to his pen, the song picked up with Wright repeating the opening organ notes.  To dry ice smoke flooding onto the stage, Gilmour's brilliant guitar solo finale ended the song and the first half of the show. Waters thanked the audience and announced that the band was taking a twenty minute break.Exactly twenty minutes later the arena went black. I was about to hear my favorite album of all time played live by my favorite rock group. I got goose-bumps as I listened to Wright begin, as he says, «the band's favorite album». They performed Shine On You Crazy Diamond Pts 1-5 with Dick Parry making his evening debut on saxophone. During this moment I couldn't help but think about Syd Barrett - to whom the song was written. The Floyd moved on to Welcome To The Machine, finally using the circular screen. We all watched the most breathtaking animation video we had ever seen ! From there Gilmour kicked in and jammed out the opening chords of Have A Cigar. With the absence of Roy Harper, the song's original vocalist, both Waters and Gilmour shared the task. It suddenly became quiet in the venue as we anticipated the start of the album's title track, Wish You Were Here. During most of the song the audience sang along as well - a tradition honored by audiences since. The song faded into wind sounds swirling around the speaker system. Closing out the second set was Shine On You Crazy Diamond Pts 6-9, the better half of the song in my opinion. Dry ice smoke billowed on stage once again. The performance was captivating and the video sequence stunning. This took us to the end of the album where the band received a deserved standing ovation. They thanked the audience, said their good-byes and departed the stage. The fans went crazy until the band returned to the stage ten minutes later for the first of two encores. Waters started playing the all-too-familiar bass intro for Money. The crowd screamed even louder. Gilmour sang, Parry saxed, the famous video was shown, and finally back to Gilmour for his electrifying guitar solo. Wright began the second and final encore with his intro to Us And Them. Once again we heard Parry on sax and watched a video that is still in use by the band today. They played as a true four-some - a unified feeling as they wound their way through a song they all love. I would never again see them perform with that same feeling. At the end of the song Waters cursed a local union for insisting the band use the lighting people employed at MSG. Apparently they didn't do a very good job. I myself could not tell the difference. The band came together at the front of the stage to thank the audience and then calmly left. The house lights came on to a tremendous roar of disappointment by the fans. I wasn't so sad though. I would he seeing it all two more times that week.I would never again see them perform with that same feeling».

«Animals in the Garden», Eliot Tayman, Brain Damage #40


«The members of Floyd were in a pretty foul mood during the concert earlier, publicly cursing the Garden's unionized lighting technicians for not allowing the band's own crew to work the complicated light show»

«Talent Talk», Billboard, 16 July 1977


«Before the opening night encore, bassist Roger Waters took the stage and lashed out at the laws which prevented the Floyd from using the spotlight operators in their own technical crew. Summoning up a most acerbic sneer, he termed the union operators «a load of f***ing’s …»while sternly requesting that the Garden alleviate the situation»

«Troopers and Crackers», Cashbox, 16 July 1977


An incident occurred between the band and a journalist during the private party given after the opening night

« A reporter from this publication was thrown out of the festivities 10 minutes after he arrived even though he was allowed in "as a human being »

«Talent Talk», Billboard, 16 July 1977


The band has heavy critics about the quality of this show

«Robert Franklin* says the biggest problem with having so many shows following each other is the burden it puts on the stagehands. He says they had to work all night to get the set ready for Pink Floyd who followed Fleetwood Mac an evening later. After the first Pink Floyd concert there was a lighting rehearsal since the band was so vocally and publicly disappointed with the quality of the light show»

«Cherry Bombs ignite N.Y. audience wrath», 23 July 1977, Billboard

*Assistant vice-president of MSG production


It’s interesting to note that the announcer’s introduction of the show is pretty close of the future the MC introduction parody for « The Wall live », three years later. Maybe an inspiration for Roger: 

« I have just left the dressing room of Pink Floyd. They are, just a minute please, they are deeply concerned about the safety of you their audience. As well as the safety of their families. Therefore please do not explode any form of fireworks. (Applause) I repeat do not use fireworks. The members... members of the group do not wish to leave this stage however, a violation of their personal requests will result in a delay of the performance. So on behalf of Pink Floyd we humbly thank you. And once again Pink Floyd asks that you do not use any fireworks. Thank you very much. »

Photography by Vernon SHIBLA.

2 July 1977 Madison Square Garden, New York City, USA

Photographies by David TAN.

«Pink Floyd’s 1977 tour has not only seen the rock concert expand into new dimensions, it has witnessed a near-total withdrawal from many of the concepts traditionally associated with the musician’s live performance. Sure, many of the other grand tours traversing the country this summer will number 20,000-seat arenas among the smallest venues played. Most of them, however, will view the large-scale show through eyes partially tinted by their old concert days. Led Zeppelin, despite elaborate lighting effects, still focus on Robert Plant’s and Jimmy Page’s body movements (bring your binoculars). Even Kiss, who have spent the greater part of their short career entertaining multitudes, indulge in acting, visually amplified for the less-than-hawk-sighted human eye via mammoth closed-circuit television screens. The members of Pink Floyd, on the other hand, have rejected their minuscule bodies entirely. They play their extended pieces, most of which are now written in similar slow tempi, with precious little gesture, although one hardly gets the impression that they’re shy.

In fact, the entire production is engineered to draw the eye away from the band The first set, a re-ordered rendition of the new Columbia album “Animals,*’ began normally enough with ’’Sheep.” thereupon moving into a condensed “Pigs On The Wing.’’ The visual presentation accompanying “Dogs” featured mammoth, brightly lit helium balloons representing the proletarian family with their symbolic refrigerator, dripping sausages. The crowd really began to yowl, however, for “Pigs," singling the emergence of the show’s biggest star, a 40-foot inflatable swine. A blatant thing, it sailed out to the middle of the arena, leered with its beady eyes, and returned to its pen behind the carefully enclosed stage. The second set, a tight, in-order performance of "Wish You Were Here," featured a movie with each song, projected on a huge circular screen. Probably the most disturbing was “Welcome To The Machine.” an animated series of tableaux pairing human blood with cold steel. The slow-motion scenes of somber-clothed, duck-footed businessmen tromping to work, for the second encore. “Us And Them." was Pink Floyd’s most touching bit of human tragedy»

«Talent on Stage», Cash Box, 30 July 1977


David Meiris (Audience member):

« (…) en 1977, j’ai eu de la chance de trouver un gars qui avait une place en trop pour le concert du premier juillet au Madison Square Garden. La place était à $15, et je n’étais pas vraiment devant. 

J’étais un peu sur le coté, assis sur des sièges comme on en trouve dans le métro. Cette salle a la réputation d’avoir une très mauvaise acoustique et pourtant le son y était même meilleur qu’à Lyon! On sentait une sorte de quadriphonie avec des balances qui passaient d’un coté à l’autre.Mais j’ai été très déçu par le public qui était très excité, même si dans l’ensemble le concert était très bon. En fait il y avait un problème avec les lumières qui ne semblaient pas synchrones et puis il y a eu ce gars qui a fait exploser un énorme pétard, la déflagration a été très puissante et les musiciens ont arrêté de jouer quelques fractions de

secondes. Comme j’avais acheté l’un des premiers Walkman, j’ai même enregistré le concert ! »

« Waiting here seems like years », Fanzine Pigs #2


Marc A. Schuman (Audience member):

«We sat in good old section 133 of the old MSG, which was just above the main walkway that went all the way around the middle of the arena. In those days lots of illegal fireworks were sold in Chinatown in the days leading up to the 4th of July each year. People were lighting off firecrackers inside the venue, which made it a somewhat scary and tense scene. During the break some guy started going to the front of the sections where we were, yelling that if he sees anyone light a firecracker he's going to beat them up. During this run, someone notoriously threw a firecracker or other explosive on the stage during the band's performance of "Pigs on the Wing," at which time Roger Waters stopped the band and asked the audience "Where's the stupid motherfucker who just did that?" These events contributed to the themes that Waters addressed in the next Pink Floyd album, The Wall, which I saw them perform live during the 1979 performances»

«1977-07-01 Pink Floyd», Marcalstudios.com

3 July 1977 Madison Square Garden, New York City, USA

« It was the eve of the fourth of July, and even before the concert began, fireworks were being set off in the upper tiers of the Garden. Soon they were being thrown down onto the crowd below, making it very had to concentrate on the music being performed. One rolled under the reviewers seat, while another set fire to the T-shirt of a person five seats away. The tension put an edge on David Gilmour’s guitar playing but Roger Waters was not happy. The crowd roared approval when an inflatable family rose from the side of the stage, complete with a television and a car. But at that point, a firework landed on the stage near David Gilmour, causing Roger Waters to say « you stupid motherfucker. And anyone else in here with fireworks, just fuck off and let us get on with it.Then, the Garden filled with smoke, and a giant inflatable pig coming out of its eyes, and flew around the auditorium. This was followed by a 20-minute intermission. The second half of the show was the album « Wish you were here » with quadraphonic sound sweeps, movie sequences, and hydraulic lighting platforms with revolving lights. But due to the firework danger, the reviewer couldn’t concentrate on the show. However, the encore Money did come alive, with a movie of tumbling coins and scenes of gold disc »

« Floyd blow up cars as fan lob fireworks », New Musical Express, 23 July 1977

4 July 1977 Madison Square Garden, New York City, USA

« Pink Floyd are perfectionists when it comes to their stage presentation, and their no-nonsense approach is strictly enforced whenever possible A single photographer's abuse of the "no flash 'directive, for instance. led to a total ban on photographers for the final performance of their four-night engagement at Madison Square Garden One group-perceived blemish on the show they couldn't erase was union control of theaters in New York City Before the opening night encore. bassist Roger Waters took the stage and lashed out at the laws which prevented the Floyd from using the spotlight operators in their own technical crew. Summoning up a most acerbic sneer, he termed the union operators “a load off--- ing s —. while sternly requesting that the Garden alleviate the situation Yet another problem that no one could correct was fireworks in the Garden, which were thick and frequent due to their easy availability over the July 4th weekend. WNEW-FM's announcers had been making a point of danger warnings through the week, asking concertgoers to leave the firecrackers home, and boos of disapproval at explosions indicated that the large majority of Floyd fans were in agreement. After the first encore opening night, however, guerilla forces scattered through the crowd were able to create a disturbance that drove at least half the crowd out of the hall, leaving Pink Floyd to play their second to a select number of the patient and courageous The group later issued requests to cease fire, but the rather dangerous situation persisted throughout their stay »

« Troopers and Crackers », Cash Box, 16 July 1977


« The preeminent purveyors of psychedelicized technorock are still as tripped out as ever Pink Floyd recently completed an American tour, capped by four sellout evenings at Madison Square Garden, and attended all the way by perhaps the most single-minded fans in pop music Watching the 18,000 staggered fans in the Garden would lead to the empirical observation that Pink Floyd takes a back seat to drugs for these aficionados, but nonetheless the two went hand-in-glove quite nicely on the evenings I attended Floyd's perspective is singularly ethereal and horrifying Their lyrics and electronics probe the levels of inner space (“Dark Side of the Moon”) controlled by the mind They don't paint a pretty picture, and their overall output is unusually sexless It is the acceptance of a dehumanized future ("Welcome to the Machine ') that frames their viewpoint, it is a mixture of desperation and madness that provides their energy They are also one of the few established groups who still warn against succumbing to the establishment, to routinization, television-mind, and the resultant insensitivity that comes from acceptance of bourgeois ideals. Their two encores. "Money.” and "Us and Them." deliver this point home, aided in performance by some marvelous film work, projected on a giant round screen at the rear of the stage Still, their show is so elaborate and costly (the set and lighting are estimated to have run them a quarter-million dollars) that in New York, they command a superstar price of $lO 50 a seat, and upwards of $25 a ticket on the scalper's market Monetary and musical values aside, never in the years that I've attended rock concerts have I seen such an extravagantly creepy show. Their set includes two caterpillar-like light towers which, when not providing spotlights, art as eyes that search the audience for God-knows-what: a living-room full of inflatable people and furniture which rise, blow out, light up, and float aimlessly across the ceiling of the grand arena until they are deflated and dropped, as if dead, and the famous 40-foot air-filled pig that passes ominously over the entire expanse of the arena to accompany their force composition, "Pig,” from their latest Ip, "Animals " But nothing could prepare you for the terrifying animated film, put together by London illustrator Gerald Scarfe, that opens the second half of their set, along with “Shine On You Crazy Diamond It is a vision of intense futility, of death and decomposition that eventually drams into a bottomless (or is it topless'') black hole Monsters inhabit the innermost reaches of the mind, and rats run through its deserted passageways An ocean of blood drowns what is left, and its waves become hands urgently reaching out to a sleek silver monolith that detaches from this sanguine sea and floats on high They seem to be saying this is what happens when you reach for false ideals Try to fly high and you'll be dragged down The surrealistic visual accompaniment, a product of Roger Waters’ deranged imagination, is frightening in the extreme The British quintet played with convincing power throughout They are not only musical masters, but each ex-nudes a peculiar personal aura that lends believability to the horror of which they sing Guitarists David Gilmour and Roger Waters handle the singing chores convincingly as well, without having exceptional singing voices Pink Floyd is perhaps the only "super-group'' to have maintained an ensemble image Since their last tour here two years ago, they have meshed even further by dividing the guitar work Gilmour. Waters, and additional touring guitarist Snowy White (formerly A 1 Stewart! each played electric guitars and bass, six and 12 string guitars, and each was given fairly equal solo space Nick Mason continues to play a continually kicking drum-kit, and Richard Wright's keyboards play an integral part in Floyd s nether-worldly preoccupation Perhaps the only shortcoming of the program was the strict adherence of the group to selections off the last three (and best-selling) albums Classics such as "Careful with That Axe. Eugene" and "Set the Controls for the Heart of the Sun" have been shelved, so it seems, and that's a loss for both new and old Floyd fans But no one attending the just-barely-over two hour concert seemed to mind »

« Formula For Success — Pink Floyd Mixes Music With Madness », Desert Sun, 2 August 1977

Roger Waters on the route to Canada meets Bob Ezrin for his future project.


Bob Ezrin: 

«I met Roger through his then wife Carolyne, who once worked for me. On the «Animals» tour, they stopped in Toronto where I was living, and on the limousine ride out to the gig Roger told me about his feeling of alienation from the audience and his desire sometimes to put a wall between him and them. I recall saying flippantly, «Well why don't you?» 

A year, 18 months later I got a call asking me to come to his home to talk to him about the possibility of working together on this project called «The Wall»»

«Danger! Demolition in Progress», Mojo, December 1999


On the eve of the final show of the tour, Nick Mason was questioned about the future tour of the group by the local press:

«Not for a long while, I hope. Physically, it's very tiring»

«Say, who are these guys ?», The Montreal Gazette, 6 July 1977

Rehearsals and soundcheck at the Stade Olympique de Montréal.

The first Rock and roll act in this new Stadium is the big cultural event of the year 1977. After a long wait, the stadium is overrun by 78,322 spectators for a capacity of 68,000 seats. The enclosure is unfortunately not finished, the installations not in conformity (according to « Le Devoir » dated of July 12th, 1977, a spectator fell into the void due to the irregularity of the slaves and the size of the railings on the Olympic stadium Work up to $ 250,000 will be made before the Emerson, Lake & Palmer concert.

6 July 1977 Stade Olympique, Montréal, Canada

It was during Pigs on the Wing that Waters got carried away against a spectator who burst a firecracker while he sang Pigs on the Wing (part 2) thus causing an impressive crowd movement. Waters stops and yells loudly:

« Ah, for fucks sake don't let it off fireworks and shouting and screaming I'm trying to sing the song! I mean I don't care, if you don't wanna hear it, you know, fuck you. I 'm sure there's alot of people here who do wanna hear it, so why don't you just be quiet and. If you wanna let your fireworks off go outside and let them off out there, and if you wanna shout and scream and holler go and do it out there but. I'm trying to sing a song that some people want to listen to, I want to listen to it »


During Pigs (three different Ones), Waters poisons the game by openly addressing him:

« Well, hey. Come back pig! Come back! All is forgiven! Come on boy! (Whistles) Come on son, just another few yards! Yeah! Oh yeah! Come in over here, son. That's a good boy! Hello , his … »


It can be noted that Waters screams during the last verses of Shine on you crazy Diamond (part 7) and sings a heartbreaking: « Nobody where we are now … ». Then during Us & Them, the bass player already seems to regret the incident and addresses the crowd one:

« Thank you. Take it easy. Don't worry about it. I don't, well I do, but I wish I didn't, I wish I didn't, I wish I didn’t »


« I was on stage and there was a guy in the front row who was screaming, he was screaming out of breath. Finally I called him. And when he was close enough, I spat in his face. My gesture really shocked me and I realized that nothing was going right, that I actually hated it »

Cited in « Echoes, The Complete History of Pink Floyd », Glenn Povey.

A shot of Waters during the « spitting incident ».

The show as reported by the contemporary press:

« With an attendance of 80.000, it was a major happening. During the first half-hour before the sun set. Pink Floyd seems little more than « accidental entertainment at a be-in ». After darkness arrived, senses softened. Pink Floyd floated sheep down, and their inflatable pig up. But during the performance of songs from « Animals », the inflatable figures floated against the backdrop of the stadium instead of over the crowd « like children’s toy gone astray ». And, unless you were close to the stage, the lights seemed unimportant, the smoke and fireworks were invisible. The films were interesting, particularly the one shown during Welcome to the Machine, nut they were too small in comparison to the size of the stadium. The music itself wasn’t bad, when it could be heard. The band are masters of sound textures and colors, and screaming and wooshing effects would travel around the stadium but, at times, the stadium size caused the sound system produce two beats. Furthermore, the sight lines were bad, with sounds towers in the way. Event the band did not appear to care for the concert, but most of the fans seemed to enjoy the show »

« Pink Floyd : Hohum and not much more », Vibrations, August 1977.


« Je serais curieux de savoir combien, parmi les 80,000 spectateurs qui ont assisté au spectacle que présentait Pink Floyd hier soir au Stade olympique, seraient prêts à payer $10, ou plus, pour retourner les voir. Ils ne sont sûrement pas légion et ceux qui consentiraient à débourser de nouveau une telle somme devaient être assis aux tout premiers rangs, sur le ter rain. Parce que vraiment... 

Le son n’était pas bon, même qu’en première partie il était horrible. On ne les voyait pas, non plus bien sûr, à moins d’a voir des télescopes ... Il restait quoi? Le visuel, ce fameux visuel qui a fait la renommée de Pink Floyd en spectacle. Or, les effets visuels étaient minables, réchauffés, petits, pas imagina tifs pour un sou, sauf un petit film, un dessin animé qu’ils nous ont présenté en deuxième partie de leur spectacle. 

«Et dire qu’on attendait ce show-là depuis 25 mois», disait un des fans du groupe britannique à sa sortie du Stade. 

Quand je pense à tous ces télé phones que j’ai reçus de gens qui m’imploraient à genoux pour que je tente de leur trouver deux billets. Les bienheureux, s’ils avaient su. Ils feront sûrement un meilleur investissement en achetant un album. 

Ce spectacle, en fait, n’était qu’un énorme ballon qui nous a éclaté en pleine face, hier soir. Depuis deux mois, c'est incroyable toute la publicité qu'on a faite autour de cette venue de Pink Floyd Encore hier, on nous annonçait qu’un bombardier B-25 (il n’en reste que trois, semble-t-il, en Amérique du Nord) survolerait le Stade avant le début du spectacle (on ne l’a jamais vu), on nous parlait des $2,000,000 d’équipement de Pink Floyd, le producteur Donald K. Donald informait le public que des mesures de sécurité exceptionnelles avaient été prises, on nous rap pelait que la semaine dernière, 67,000 spectateurs ont assisté au spectacle du groupe à Milwaukee, on précisait que la police avait dû effectuer 140 arrestations, que 500 personnes avaient dû être soignées pour «bad trip», on interdisait l’entrée au Stade au cameraman de Radio-Canada (en après-midi), prétextant que le groupe Pink Floyd s’y opposait, « n’ayant pas besoin de publicité ». 

Disons tout d’abord que tout était très calme au stade. On n’y a remarqué aucun incident. L’atmosphère était d’ailleurs beau coup plus détendue qu’au Forum. Bien sûr, il n’était pas facile de se rendre à son siège. Plusieurs placiers étant occupés à tirer un petit joint, ils avaient de la difficulté à se rappeler la con figuration de leur section. Mais un coup bien installé, il n’y avait plus de problème. 

Pendant l’entrée des spectateurs, des petits oiseaux gazouillaient, on entendait aussi des bruits cosmiques, des moteurs d’avions à réaction, les gens ajustaient leurs jumelles et at tendaient avec impatience. 

Quand on a éteint les lumières, ce fut le délire. On se croyait à la belle époque des Beatles. Puis, plus rien. 

Les gens ont jasé à peu près pendant tout le spectacle. A tel point qu’un des membres de Pink Floyd a arrêté au beau milieu d’une chanson pour dire: « Ecoutez, on est en train de donner un spectacle. On chante, si ça ne vous dérange pas. D’ailleurs, si ça ne vous intéresse pas, vous pouvez toujours sortir ». La première chanson, on ne l’a pratiquement pas entendue. C’est à peine si on a pu la reconnaître. «Ils avaient beaucoup plus d'équipement que ça à l’Autostade », disait un de mes voisins qui était venu de Rivière-du-Loup pour voir le spectacle et qui avait payé son billet $25 à la porte.  Le son a été mauvais pendant toute la première partie (que Pink Floyd a consacrée à son dernier album « Animais »), Tout ce qui sortait bien, c’est la trame enregistrée sur ruban qui nous parvenait de haut parleurs placés sur les côtés du stade. Ce qui venait de la scène était confus et presque inaudible, particulièrement les voix. 

En deuxième partie («I Wish You Were Here») (sic), le son était meilleur, de temps en temps, mais en aucun moment il n’a été supérieur à celui qu’on a l’habitude d’entendre au Forum. 

Pour ce qui est de l’aspect visuel, il était tout simplement quétaine. Les éclairages bien ordinaires, comme ceux de tous les spectacles qu’on nous présente au Forum et les gadgets, ridicules. De la «boucane», de la vulgaire «boucane». Trois grosses marionnettes gonflables qui se sont élevées dans le stade pendant quelques minutes, et un cochon gonflé que l’éclairagiste a oublié d’éclairer. 

« Ils nous prennent-y pour des fous? », s'est exclamé mon gars de Rivière-du Loup. Un show de marionnettes. Et à la fin, à la toute fin, un feu d’artifice d’une trentaine de secondes. Trois ou quatre pétards. 

Les gens, même s’ils n étaient pas particulièrement chauds, n’ont pas trop mal accueilli le spectacle. Probablement parce qu’ils se sentaient privilégiés d’avoir pu y assister et peut-être aussi parce qu’on déteste toujours avoir l’impression qu’on vient de se faire passer un sapin. On a applaudi poliment, on a poussé quelques cris, mais pas plus. 

Pink Floyd terminait hier soir une tournée qui a duré six mois. Il s’agissait d’un record d’assis tance au Stade olympique, le précédent datant de la cérémonie de clôture des Jeux <68,700 personnes) et d’un record canadien pour un spectacle présenté à l'intérieur d’un amphithéâtre quelconque. Dommage »

« Les 80,000 fans de Pink Floyd auraient dû mettre leurs $10 sur un album au lieu d’aller le voir », La Presse, 7 July 1977


« (…) More than 85,000 fans turned out to see the band. An airplane circled the stadium with the words «c’est fantastique». The concert grossed more than $850,000. The music was cosmic, but suffered from an inconsistent soudn system. In the first half of the show, they played songs from the album «Animals» with giant inflatable plastic animals, cars, and human figures hovering over the stage. During the second half they played the album «Wish you were here», and projected brillant animated films on the circular screen. Pink Floyd is the premiere band right now »

« Canada’s largest rock audience turns out for Pink Floyd band », The Toronto Star.


« About 80.000 rock fans crammed into the Olympic Stadium Wednesday night to see Pink Floyd in a show which had alternately been billed as the largest rock show in Canadian history and a major test of the giant stadium. The British rock group, which has long enjoyed special popularity in Québec, drew more people to the Stadium than any other event held there, beating the old record of almost 68,000 for the coming ceremonies of the 1978 Olympics.

The band used spectacular visual effects to accentuate the doomsday message of their pulsating rock rhythms, displaying animations on a 25-foot screen suspended above the stage. The animations, brillant in their conception and production, drew the longest and loudest ovations of the four-hour evening. During the opening set, which consisted of a re-arrangement of the group’s most recent album, animals, inflated dolls representing a western family resplendent with their material possessions - a refrigerator and a TV – were a cynical condemnation of American society. The theme of the album is that society is dominated by pigs and dogs, and one song warns the rest of the people that «the dogs are dead, you better do as you’re told, get off of the road if you want to grow old ».

« Every fool knows a dogs needs a home, a shelter from pigs on the wing», the song says. The mounds of equipment used for the show, including a silver reflector ball used during the group’s second encore and rows of speakers ringing the stadium, reportedly cost more than $2 million. While the audience had little trouble hearing the music, the musicians appeared to be bothered by crowd noise, prompting band leader and bass guitarist Roger Waters to ask the 80,000 fans to shut up. The silence lasted only a minute or so after Waters’ plea. The band played only their recent music’, much to the disappointment of old-time Pink Floyd fans who prefer the more hallucinogenic and experimental tunes of past albums such as «Ummagumma» and «Atom Heart Mother». Early reviews were uncomplimentary, Juan Rodriguez of the Gazette wrote: «Luminous obscurity is what Pink Floyd is all about and they were probably a little more obscure than usual. Their ideas are rather mundane», he wrote, «half-baked existentialism and absurdity» Nevertheless, the hordes of Pink Floyd followers, some carrying giant banners and signs and others dancing throughout the show appeared to have a good time ».

« Part of crowd at Olympic stadium 80,000 cram stadium for Pink Floyd show », The Leader Post, 7 July 1977.


« The Olympic Stadium in Montreal, the new home of rock music was a place where Wednesday night five of rock's most veteran gods displayed an unusual amount of human weakness. Pink Floyd, five unusual musicians who remain rock's oldest and still best masters of surreal rock, paid one of their infrequent visits to Montreal Wednesday night and along with 80,000 to 90,000 enthusiastic fans gave the Olympic Stadium its rock baptism. And what a show it was, with its giant inflated people and furniture floating through the air and its giant fireworks providing starburst canopies high over the open top of the stadium.

Unfortunately the band's performance didn't quite match its visual pyrotechnics. The festival atmosphere of the largest Montreal rock crowd ever seemed most appropriate at first, but soon grew to be somewhat of a liability as it seemed to take the massive crowd considerable time to fully settle down.

The wasn’t helped by the atrocious sound that plagued the opening portion of Pink Floyd's concert. The band took to the stage to a tumultuous roar of approval and quickly slid into some material from its latest album, Animals.

Suddenly sheep started falling from the sky. Actually they were four-foot parachutes made to resemble white sheep descending in a slow plummet (or quick float) but they were most effective, suggesting a delightful Monty Python touch of the absurd. As the music, especially the sound mix. began to come together, the band unleashed its giant inflated characters—including a fat woman on a couch, a television set. a refrigerator and a big old-fashioned car. These characters, illuminated from within, swayed high above the stage and the crowd as the music began to swirl around the stadium, racing from one set of remote speakers to the next. But the spell didn't hold as the sound fluctuated in and out of focus, like a radio station that keeps fading and reasserting itself. Good and bad moments followed quick upon the heels of each other, resulting in a disappointing and frustrating first hour.

For the second half of the show, Pink Floyd and its extensive crew started to pull things together, especially the sound, with echoes and delays causing the music to come swooping down from various areas of the stadium, finally approaching the magnificent all-around sound Pink Floyd produced at the Autostade a few years ago. This second set consisted of material from the album Wish You Were Here and in addition to being more familiar, it was simply better and far more suitable for stunning co-ordination and synchronization with some extremely imaginative animation projected on a massive oval screen at the back of the stage.

The visual accompaniment for Welcome to the Machine was fascinating, as was the falling man theme in the animation for Wish You Were Here. This 40-minute second half was basically a replay of Pink Floyd’s opening set the last time in town. What was sorely missed was the incomparable Dark Side of the Moon set which has been dropped from the show.

The band finished in a blaze of glory with fireworks replaying July 1 high overhead. Over 80,000 people responded with an intense standing ovation that lasted a full six minutes.

Pink Floyd came back out to perform Money from the Dark Side of the Moon album—quickly bringing the people back onto their feet.

The band appeared in a somewhat foul mood most of the evening, sharply chastising some segments of the audience for disorderly behavior.

In the end, the band wished everyone a pleasant enough farewell but kept urging people to be cool and not so uptight. Though a quarter of the crowd then beat a hasty retreat to avoid the rush on the way out, the rest remained in their places, cheering, stomping and applauding for 10 minutes until the band came back out for an unusual second encore, performing Us and Them, another classic from the Dark Side of the Moon album. Despite a relapse into weak vocals, both these tunes were excellent examples of what might have been. Afterwards, at least half the crowd again refused to leave, or even quit applauding, and after 20 minutes the scoreboard finally lit up with the message that the concert was indeed over.

But suddenly Pink Floyd strode out for a totally unprecedented third encore, jamming some blues for 15 more minutes while the roadies cleared the stage. As the equipment slowly disappeared from stage, the band quietly disassembled itself, until there was just the bass and the drummer with his solitary snare drum. Both were finally carried from the stage and the concert came to final close.

Though the concert had many technical and artistic flaws—as well as several intense and awesome high points—that isn’t to say it was a flop in terms of mass enjoyment and popularity, as witness the incredible ovations. Though the band was not nearly as brilliant as in the past, most people readily overlooked the show’s shortcomings and simply had a terrific time—celebrating the event as much as the music.

And perhaps we simply expected too much, for as Pink Floyd so aptly put it: “Us . . . and them . . . and after all . . . we're only . . . ordinary men.”

«Pink Floyd: surely good», The Ottawa Citizen, 7 July 1977

Juan Rodriguez

«Pink Floyd’s concert at the Big O in 1977 was hyped as the largest ever held in Montreal : 80,000 fans flocked to witness the Animals Tour, with its giant pig floating overhead in the venue. The Gazette went gangbusters on coverage, dispatching me to Philadelphia to check them out the previous week, and sending me to stake out the Bonaventure Hotel for Floyd sightings the day before the show. (Luckily, I nabbed Nick Mason in the coffee shop.) This Olympian gig meant filing a story by phone at 9:30 p.m. for the early edition and, two hours later, filing end-of-concert adds and whatever else I had left.

While the Floyd performed the opening half, I commandeered a pay phone in a hall with a hideous echo. Motoring on some speedy yet sharp-focus Hawaiian weed that just arrived in town that week, I started shouting out sentences from notes: «This was the ultimate electronic medicine show. ... Luminous obscurity is what Pink Floyd is all about, and they were probably a little more obscure than usual last night» I barked through the din. Cupping one ear, my voice rising to be heard over the noise, I hadn’t noticed a crowd of fans gathered to hear what the critic had to say. When I finally looked up, I was horrified at being booed by bleary-eyed, messianic Floyd fans on magic mushrooms, speed, pot and beer, sweat pouring off their faces as they gave me the evil eye while I blurted that David Gilmour’s guitar solos «were formless, mere time fillers leading up to the light and sound effects»

«Juan Rodriguez's Rock 'n' Roll Life — Week 5: A close call when pigs fly», Montreal Gazette, 3 January 2013.


Jean Tremblay:

« En 1977, Jean Tremblay, aujourd'hui domicilié à Calgary, résidait à Alma. Du haut de ses 18 ans, il avait pris la direction de la métropole, accompagné de son cousin, en faisant du stop. Si la journée était splendide, 

une mauvaise surprise attendait les deux hommes lorsqu'ils ont fait leur entrée au stade: leur billet donnait accès au parterre, mais pas à une place réservée.

«La moitié du terrain était déjà occupée, alors j'ai dit à mon cousin Louis de tenir la manche du jacket que j'avais autour de la taille. On s'est mis à marcher à travers le monde, comme si on allait retrouver quelqu'un, parce que je savais que lorsque les lumières fermeraient, les gens qui étaient assis se lèveraient et qu'on ne pourrait plus se déplacer. On s'est rendu jusqu'à la bande et quand le show a commencé, en retard de 15 minutes, on était complètement en avant!»

Heureux d'être près au point de voir les cordes des musiciens vibrer, les deux compères ont toutefois réalisé que leur voisin était soûl et passait son temps à hurler. Pire, il lançait, de temps en temps, des pétards ou des petits feux d'artifice qui explosaient près du micro de Roger Waters. Quand Waters réagissait, l'individu en question ne trouvait ça que plus drôle. « C'est là que Waters est parti en arrière de la batterie de [Nick] Mason. Il est allé chercher son verre de bière et il s'est rempli la bouche. Il n'avait plus des joues, c'étaient des bajoues, et il a garroché ça sur le gars, en pleine face! Le gars, ça le faisait rire! Il était content, mais pas Waters ... ». Le spectacle a fini par reprendre son cours et l'individu s'est calmé. M. Tremblay se rappelle que ce n'était pas le seul hurluberlu présent: un fan téméraire se promenait sur l'anneau technique du Stade olympique et faisait des cabrioles pour faire réagir les quelque 80 000 spectateurs. D'autre part, le concert - le tout premier à cet endroit - avait souffert d'une piètre qualité sonore et les gens à l'arrière entendaient mal. «Mais c'était un maudit bon show, assure M. Tremblay. Personne ne voulait laisser partir le band. En rappel, ils ont fait Money et Us & Them. Après, même si les lumières étaient allumées, personne ne partait. Ils sont revenus et ont joué une musique que je ne connaissais pas, c'était un blues ... »

«The Wall: témoin du crachat à l'origine du mur», Le Soleil, 19 July 2012

The blues jam with the band (minus Gilmour) and the crew on stage.

At the very end of the gig (who was also the end of the tour); the band play an unique second encore  to calm down the audience during the load-out by the Floyd’s crew. The band plays on a 13 minute Blues jam. But David Gilmour step out the stage.


Mason:

« Over the years, we have developed a final recall. We played the blues while the technical team gradually took away the material, leaving only one musician who left the stage in silence. David was so upset that day that he refused to play »

« Inside bout, the personal story of Pink Floyd » Nick Mason, 2005.


Gilmour :

« The only time I've ever seen Pink Floyd live was the encore in Montreal stadium in 1977 — the last gig of the Animals tour, the one that Roger spat on someone at, I think. I was so pissed off about something, and I can't even remember what it was, that I refused to play the encore, and went out to the mixing desk to watch whatever encore it was, with Snowy playing [my] parts. That was the only moment I saw a tiny bit »

« The lost art of conversation », Podcast, December 2019.


Gilmour: 

« I can remember not enjoying it much as a show. They'd just finished building this big stadium and the crane was still in there, they forgot to dismantle it and couldn't get it out. I was so unenamoured that I went out and sat on the mixing desk for the encore - that might have not contributed to Roger's mood. I think Roger was disgusted with himself really that he had let himself go sufficiently to spit at a fan »

« Danger! Demolition in Progress », Mojo, December 1999.


Waters:

« The basis of all this history is Montreal, 1977, at the Olympic Stadium in front of 80,000 people, the last concert of our tour. I was so pained during the show that I spat on a guy in front who was doing what he wanted, but what he wanted was not what I wanted. He was screaming, screaming and seemed to be having fun like crazy pushing the barrier. He wanted to fight, actually. And I wanted to do a rock concert. I was so exasperated that I ended up spitting on him to calm him down, which is something we shouldn't do to anyone. I got it, he took my spit in the face »

« Reflections on The Wall », Bob Carruthers, 2005.


Waters: 

« We toured America and played only in large outdoor stadiums, lots and lots of them, finishing up in the Olympic Stadium in Montreal. And I loathed it, I thought it was disgusting in every way, and I kept saying to people 'I'm not really enjoying this, you know, there is something very wrong with this.' And the answer to that was, 'oh really? Yeah, well, do yo know we grossed over four million dollars today?' And this went on more and more, 'Do you know how many people? 98,000 people here!' And it began to dawn on me that the only thing anybody was interested in was the grosses, which is not why I got into music really. And so at a certain point something in my brain snapped, and I thought this is awful, and so I developed the idea of doing a rock concert where we built a wall across the front of the stage, that divided the audience from the performers, because it was a wall that I felt was really there, and that was not a physical wall, an invisible one »

« Interview with Roger Waters », BBC World Service, April 1990

The band recieved bad criticisms from the Canadian press.

The Radio-Canada station dedicated a special radio show to this historical gig. The journalist Pierre Beaulieu expresses his disappointment and the gigantic aspect of the concert and especially the unprecedented range of audience.

Donald K. Donald (Gig’s promoter)

« Sur le plan artistique, ce n’était pas (…) bon. À cette époque, nous n’avions pas l’équipement technique qu’il faut au Stade Olympique. Mais, pour les rentrées de fonds, ç’a été notre meilleure affaire! »

« Tuer pour éviter d'être tué », Québec Rock, April 1984

Nick Mason gives an exclusive interview to the German magazine « Muzik Joker » (issue #15, 11 July 1977) where he seems not very optimistic about the future of the band.

July 1977, Carolyn and Roger Waters are invited to the « CBS International Convention » dinner.


Left to right: Arma Andon, Bruce Lundvall, Kay Lundvall, 

Ron McCarrell, Roger Waters, Carolyn Waters, Dick Wingate.

The Gilmour family take vacation on Turkey

Photography by Ginger GILMOUR.

AUGUST 1977

August 1977, The Damned are beginning their recording sessions at Brittania Row with Nick as producer. Initially, the punk band wanted Syd Barrett as producer

Nick Mason: 

« The band were accustomed to a much faster recording schedule than he was familiar with from Pink Floyd. The Damned hoped to record several songs on their first day in studio, when Pink Floyd would still be fine-tuning the microphone set-up and tuning the drums »

« The Damned: Don't You Wish That We Were Dead », Documentary, 2015.

An encounter between Galya Pinion and his ex-boyfriend Syd Barrett at London’s grocery store is reported.

28 August 1977 Rick Wright had some troubles with the police of Lindos where he lived. The local police was called about the noise following a private party in the villa.


« Then came the night of a party at Rick and Juliette Wright’s house.  It was a typical Lindos party, with lots of drink, dope and loud music.  About one in the morning, after complaints from the neighbors, Yánnis (the new police chief) came round to order the noise turned down.  It was a reasonable request, but some people began giving him a hard time.  He resented that and told the most vociferous protester, Pink Mike, to come up to the station house.  Pink was relatively new to Lindos, a Canadian who was close to David and Linda Woodbury and had ended up working as a full-time helper for Rick and Juliette. Rick and Juliette felt responsible for Pink, who, when sober, was sweet, gentle and unaggressive, a real pussycat.  When they got up to the station, an argument ensued and Juliette did something stupid. She called Yánnis a malákas.  The word, which means masturbator, was one you heard all the time in Greece.  It was familiar as spit in men’s mouth – but when said by a woman to a man, it became something else, as reprehensible as a white man calling a black nigger.  Yánnis went berserk and smacked both Juliette and Pink Mike around.  Then he pulled out his pistol and waved it under their noses, screaming that he was going to kill them.  They were so scared that they soiled their pants.  Rick ran down the hill for help. Socrates volunteered to try and speak to Yánnis.  It took a long time for the chief to simmer down and release his prisoners.

Had the junta still been in power, chances are not even Rick Wright with his Pink Floyd fame and wealth could have fought the police and won the case.  It took the new situation in Greece and the clout of Greece’s most famous criminal lawyer to do it, but even then Yánnis didn’t lose his job, but was just transferred to police headquarters in Rhodes »

« This way to paradise - Dancing on the tables », William Manus, 1998.


« The police had gone to investigate a party at dawn after neighbours complained about the noise.  An argument had started and Michael Smith had been arrested.  Wright and his wife Juliette went to the police station to see why Smith was being detained.  Wright said in his lawsuit:  ‘When I and my wife went to the police station, the police officer threatened us with his revolver, beat me in the face and pushed my wife violently.  I have bruises in my eye and my lips are cut.’ The police said that the Lindos station chief had been recalled to Rhodes pending the outcome of an investigation »

« Pink Floyd –The Visual Documentary, Miles and Mabbett, 1995


Reuter news service, in a story datelined Rhodes, Greece, August 28, reported a fight between Rick Wright and the Chief of Police of Lindos, a small holiday island on which The Pink Floyd had a villa.  Rick Wright and the tutor of his children, Professor Michael Smith, a Canadian, both filed lawsuits complaining of ill-treatment by Mr. Ioannis Dimitrades, the police chief. Rick Wright publishes a Communiqué 2 days later.

Rick Wright: 

« When I and my wife went to the police station, the police officer threatened us with his revolver, beat me in the face and pushed my wife violently» 

Reuters Communiqué, 30 August 1977.


« The british rock musicians, Richard Wright, of the Pink Floyd, has claimed that he was beaten on the face and threatened with a revolver at a police station in Rhodes. Police said yesterday that Mr Wright, aged 34, and a Canadian friend, Professor Michael Smith, living in Hertfordshire, had both filed civil suits complaining of ill-treat-ment by Mr Ioannis Dimi-triades, the police station chief at the small coastal town of Lindos. Mr Wright, who sings with Pink Floyd, and his wife Julia, 32, are on holiday at Lindos with Professor Smith. Police said that the lawsuits resulted from an all-night party. The police station chief had gone to the party at dawn after neighbors complained of noise. An argument had started and Professor Smith was arrested and taken to the police station (…)He said that his wife had suffered shock. The police said that the Lindos station chief had been recalled to Rhodes pending the outcome of an investigation »

« Musician 'beaten’ », The Guardian, 29 August 1977

Juliette and his two children: Jamie and Gala

« After the 1977 tour, Graeme Fleming, Britannia Row’s production director, hired Fisher and Park to resurrect the pyramid. Park designed the steelwork in the form of a 20 metres (66 ft) high cube of lightweight lattice girders with sloping guy ropes at each corner forming the outline of a truncated pyramid. Fisher, who was living in Canada at the time, designed the upper pyramid. He made a number of models and built full-sized mockups of the corners.

When the steelwork was completed, Pink Floyd decided to abandon the pyramid project. Fisher and Park saw It as an ideal opportunity to put the theoretical notions of transient structures to the test. They re-configured the structure as a portable staging gantry to be erected by two mobile cranes and a very small crew. They added a lightweight fabric roof and produced a series of drawings showing its possible uses. It eventually paid for itself when it was transported on two flatbed trucks to form the stage for, among others, Led Zeppelin at Knebworth, Queen at Saarbrucken and in Nuremberg. Later Britannia Row extended it in anticipation of another performance of The Wall. But It spent most of the time overgrown with nettles at Knebworth and was last seen on the edge of an airfield in Toronto, where in 1988 Pink Floyd had intended to use it in a cut-down form ».

«Rock Sets: Astonishing Art of Rock Concert Design», Sutherland Lyall, 1992


Interviewer: « After the tour in 1977, Pink Floyd's production company, Britannia Row, hired Mark Fisher and you to resurrect this pyramid. I understand you redesigned and built the bottom, and Mark Fisher redesigned and built the top. Can you explain the details and how it was to be used ? »

Jonathan Parker: «What we did was that we created something which would work. This consisted of a base structure of a cube, which had a ring beam and four columns made from lattice girders. Inclined wires came down to make the lower part, and the upper half was an inflatable that would sit on top. And the whole thing would combine to make a great pyramid which would allow the top to float away from it. And it would be anchored at four corners so it would not move off station. And it would go up as far as it could with whatever the weather conditions were. And then it could be brought back down. In any event, it never got further than the drawings that Mark made of it »

Interviewer: « Why did Pink Floyd abandon the pyramid inflatable project before it was ever built and used ? »

Jonathan Parker: « I suppose... to paraphrase Roger... that moment had passed. He and they were involved in other things. And what we did was... this is where a whole lot of our ideas about instant and mobile staging came to fruition »

« An Interview with Jonathan Park Part 1 by Michael Simone », Reg issue #36,

SEPTEMBER 1977

With groups like Led Zeppelin, Pink Floyd or Yes the Madison square garden makes the best summer season in its history. Here, an advertisement thanking the concerned groups appeared in a « Billboard » issue.

Peter Gabriel:

«J’ai écouté «Animals» récemment, et ça m’a impressionné. Je ne les avais pas trouvé aussi bon depuis les premiers disques, les morceaux comme Astronomy Dominé. J’aimais beaucoup ça, à l’époque. Syd Barrett était un excellent auteur de chansons … »

« Avant la fête », Rock&Folk, September 1977

Roger begins his work on « Walls » project.


Waters

« Ten months until I had it in a state where I could play it to anyone. I started in September and it was the next July I played it to the other guys in the band -- a demo tape that I did at home. And then we started rehearsing it and fiddled about with it and started really recording it properly in April »

« Innerview by Jim Ladd, February 1980

OCTOBER 1977

October 1977 David Gilmour produced some tracks on the album of Unicorn « One more tomorrow ».

19 October, the film about the 1970 Kralingen Festival, « Stamping ground » featuring Pink Floyd, is finally released on France

Late October, Nick Horn of Capital Radio conducts interview with Brian James and Nick Mason for the release of the new LP of Damned produced by the Floyd’s drummer.

Pictures by Erica ECHENBERG.

NOVEMBER 1977

18 November 1977, « Music for pleasure » is released

Nick Mason

« I do  remember that It look as long to make The Damned's Music for Pleasures It did just to get the drum sound set up at Abbey Road »

« Dark Globe », Uncut, May 2020

DECEMBER 1977

David Gilmour went in Brittania studio to make some try with musical friends


David Gilmour:

«I was actually a bit nervous. I did it just to play with these people and see what it felt like. We just did some basic ideas as I had, not very well formulated. It immediately felt very good to me. I’d take the tapes home and listen to them and say ‘Well this is a nice little idea’.  They had no beginning, no middle, just bits of words. They were just very basic emotional ideas that made me feel something.

I would rewrite little bits and change bits and start writing chords(…) I had all the songs  formulated fairly much how I wanted to do them »

«David Gilmour on holiday from Pink Floyd», The Journal News, 10 September 1978


About Christmas, Gilmour will decide to record his first solo album

Nick Mason begins the production of the new Steve Hllage album « Green »


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