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?!?!?!?!?!? Roger Waters ?!?!?!?!?!


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Set One

In the Flesh

Mother

Set the Controls for the Heart of the Sun

Shine On You Crazy Diamond (Parts I - V) (abridged)

Have a Cigar

Wish You Were Here

Southampton Dock

The Fletcher Memorial Home

Perfect Sense, Parts 1 and 2

Leaving Beirut

Sheep

Set Two (The Dark Side of the Moon)

Speak to Me/Breathe

On the Run

Time

The Great Gig in the Sky

Money

Us and Them

Any Colour You Like

Brain Damage

Eclipse

Encore

The Happiest Days of Our Lives

Another Brick in the Wall, Part II

Vera

Bring the Boys Back Home

Comfortably Numb

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I had SUCH a great time last night. I was drawn in from beginning to end. The visual show did not dissapoint either. So, so good! What a treat to be able to see both Gilmour and Waters in the same year!! The only thing that could top that, would be if they were playing together.

Had great seats. The sound was hitting me hard, vibrated my whole chest. Clear and crisp... I don't know if I can pick one specific highlight. The whole thing was such a treat.

I didn't realize he was playing in Montreal as well. Anyone going is in for a huge thrill.

Cheers!

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ten people on stage - Waters (on acoustic and bass), 2 guitarists, 1 sax, 2 keys, 1 drum, and 3 female vocals. the first set and encore were better than the DSotM set for me. DSotM was a live rendition of the album, virtually note for note. technically challenging and masterfully performed, no doubt, but it had that Beatlemania feeling a bit. and the vocals were weak (see below)

highlights: the overall musicianship - these people can play! (and hats off to the sound crew); the video backdrop and lights were really amazing and just as integrated into the whole of the experience as Kuroda's are; the one guitarist (far left) was absolutely incredible; Water's voice was in tip-top shape; the first 2 minutes of the floating astronaut, and; the female vocalists.

lowlights: ALL lead vocals on Gilmore tunes (ranging from weak to poor) - the one female vocalist should have just taken over all Gilmore vocals, rather than giving each musician a turn - maybe Waters didnt want to try to 'replace' Gilmore with a soundalike, but it could have been done much better; recorded snippets from the DSotM album - they just seemed so distractingly canned; Waters' new anti-bush song - was boringly preachy and musically uninspired (you can do MUCH better, Rog), and; the "should I stand now? no no, sit back down. oh wait, people are standing again" crowd on the floor - Sit or Stand! Pick ONE!

And a special shout out to the woman in front of me whose husband so obviously dragged her along to the show, but was at least kind enough to lend her his Blackberry so she could read email throughout the show. Classy.

i thot it was a pretty good show, but wasnt completely blown away by it. Overall, a B+. :)

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What a SHOW! I'm still numb from it. Start to finish was perfection in every way. I've gotta say those were the friggin best visuals at a show that I have ever seen (non-psychedelicaly-charged ) at a concert. They were incorporated perfectly into every song. Some of the film was beautifully shot too. I can't wait until they release a show from this tour on DVD. It will be a must-own.

The entire concert was highlights from start to finish. The lyrics, music and visuals packed a 1,2,3 punch and got to the bottom of your mind, body and soul. For me, Bring the Boys Back home was so bloody powerful that it brought tears to my eyes.

The world needs more Roger Waters!

Later . . .

Kanada Kev =8)

ps - Baj, if you called i'm really sorry. My phone battery died while I was having beers pre-show. No chance at communications :(

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And then there's everyone's favourite jam critic, Toronto Star's Ben Rayner's reaction to the show... and hey hard-core Floyd fans, correct me if I'm wrong, but how come no one mentions Richard Wright's vocal contributions with Floyd? His singing voice comlimented Gilmore's throughout their glory years.

On the dark side of the tune

Sep. 21, 2006. 09:16 AM

BEN RAYNER

POP MUSIC CRITIC

The dissolution of Pink Floyd presented us with one of the most egregious instances of a rock band whose scattered parts add up to considerably less than their original sum.

Roger Waters, at least, hasn't been complicit in soiling the Floyd name since 1983's The Final Cut. But the fact that, after years of intermittently pimping The Wall whenever the solo thing ran aground, he's currently hauling a live version of Dark Side of the Moon around the globe instead of, say, a fond reprisal of Radio K.A.O.S. suggests he knows where his bread will always be buttered.

The Dark Side hook was enough to sell out the Air Canada Centre last night and, thus, represented a small victory in his ongoing post-Floyd grudge match with David Gilmour, who played Massey Hall mere months ago to roughly a fifth of the crowd that soaked up Waters's unabashed, big-budget nostalgia trip at the ACC.

Still, it has to sting just a bit employing two guitarists night after night to approximate Gilmour's signature, smooth tones onstage — especially when one of them has to take Gilmour's lead-vocal responsibilities on "Money," the ubiquitous Dark Side Of The Moon favourite, while Waters is anti-climactically relegated to the role of bass-toting sideman. And this was mere minutes after Waters had allowed himself, it could be argued, to be upstaged by the gut-busting female vocalist on "The Great Gig In The Sky" and the quadraphonic clockwork accompaniment to "Time."

The fussy Dark Side material — for such a landmark album, it's sounding pretty tight-assed and toothless in its old age — actually proved the least interesting component of the 2 1/2-hour show, since the predictability of the album's fixed sequence only served to draw attention to the fact one was essentially watching an officially ordained Pink Floyd cover band recreate its leader's past glories.

Much more fun was the first half, wherein Waters and the band offered likeable facsimiles of Floyd's biggest hits — "Mother," "Shine on You Crazy Diamond," "Sheep" — accompanied by some dazzling video animation, the requisite floating pig and, during "Diamond," a well-received photographic tribute to the late Syd Barrett. The solo stuff, meanwhile, was restricted to "Perfect Sense" and a dodgy new song called "Leaving Beirut," a well-intentioned number about an Arab family with whom a young Waters once spent a night that was doubly undercut by its pedantic lyrics and even more heavy-handed cartoon accompaniment.

Until the Pink Floyd reunion happens, it's as close as you'll get. You could obtain similar results for much less money at home, though, with a greatest-hits album and some creative lighting.

Edited by Guest
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And then there's everyone's favourite jam critic, Toronto Star's Ben Rayner's reaction to the show...

"You could obtain similar results for much less money at home, though, with a greatest-hits album and some creative lighting."

really, he's not all that far off ... and you'd have Gilmore (and Wright) vocals. perhaps my B+ was harsh, maybe A-, but no more.

(give me a sec while I put on my flac-jacket) :D:D

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