| P*U*L*S*E (disc 2) |
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| Released: 1994 by Columbia Records Running Time: 71:42 Ranking: #1 out of 5 live albums Album Highlight: Comfortably Numb Album Weak Point: (none) Average Song Rating: ****** Comments: Essentially, this half of the album is a live rendition of Dark Side Of The Moon, with a few encore songs. While the versions of the Dark Side Of The Moon songs are good, and very enjoyable to listen to, none of them are as good as their original versions, but it's impossible to out-do the perfection of the original album. The highlight of this album lies in the encore songs, each of them a unique version from their original, and each just as good, if not far better. There is not a single weak point on this entire album, and while most of the tracks fall short of their original versions, this does not make this album any less of a masterpiece. |
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| 1- Speak To Me Written by: Mason Running Time: 2:28 Best Version: Dark Side Of The Moon Rating: ***** Comments: This is an elongated version of the opening to Dark Side Of The Moon, featuring the pulsing sound of the heartbeat, and the opening words. Some of the intamacy is destroyed by loud audience members, but that's not as annoying as you might think it could be. The whole brilliance of this song lies in the sense of anticipation before the first notes of the album, and this version excellently retains that sense, maintaining the excellent effect of the screaming just before the instruments blare in from the first song. (no lyrics) Words: i've been mad for fucking years, absolutely years, i've been over the edge for yonks, working me buns off for bands...i've been mad for fucking years, absolutely years, i've been over the edge for yonks, working me buns off for bands...i've always been mad, i know i've been mad like the most of us are, very hard to explain why you're mad, even if you are not mad... |
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| 2- Breathe Written by: Waters, Gilmour, Wright Running Time: 2:35 Best Version: Dark Side Of The Moon Rating: ***** Comments: This is an absolutely beautiful song, and very little of its beauty is lost in this live version. It sounds a bit different than it does on the original version, but it is not an unpleasant difference. The lyrics are sung with the same emotion, and the instruments are played with the same passion. Lyrics: Breathe, Breathe in the air don't be afraid to care leave, but don't leave me look around, choose your own ground for long you live and high you fly and smiles you'll give and tears you'll cry and all you touch and all you see is all your life will ever be run, rabbit run dig that hole, forget the sun and when at last the work is done don't sit down, it's time to dig another one for long you live and high you fly but only if you ride the tide and balanced on the biggest wave you race towards and early grave |
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| 3- On The Run Written by: Gilmour, Waters Running Time: 3:47 Best Version: Dark Side Of The Moon Rating: ***** Comments: This is the least emotional song on the album, and it loses almost nothing in the live version. In fact, it sounds just a little more intense, although it does not surpass the perfection that it achieves in the original version. Despite being the least emotional song, it is a great track, taking your mind wherever your own stream of consciousness takes you. Brilliant sound effects and a great steady beat make this a very intense number. (no lyrics) Words: ...live for today, gone tomorrow, that's me, haahahahahahahaha... |
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| 4- Time Written by: Mason, Waters, Wright, Gilmour Running Time: 6:48 Best Version: Dark Side Of The Moon RANKING (different version): #7 (this version ******) Comments: There is no question that this song loses something in its live version, but it's just so good as it is that it's hard to do it wrong. The opening bells chiming do not sound as intimate, but they are the same sound effect. One part that does seem better is the soft instrumental before the lyrics start, which take your mind through a time-related stream of consciousness, on a slightly deeper dimension. The lyrics, however, do not have that same intensity, and the instrumental between the two verses is a big dissappointment. It is just so intense and perfect on the studio album, but it is lacking this intensity in this version. It is still a wonderful piece of music, and Gilmour's guitar howls like no one else can, but it just does not achieve the level of perfection that it gets in the studio version. The "Breathe" reprise is as beautiful as the original, and gives way beautifully into the next track. Lyrics: ticking away, the moments that make up a dull day you fritter and waste the hours in an off hand way kicking around on a piece of ground in your home town waiting for someone or something to show you the way tired of lying in the sunshine, staying home to watch the rain and you are young and life is long and there is Time to kill today and then one day you find ten years have got behind you no one told you when to run, you missed the starting gun and you run and you run to catch up with the sun, but its sinking and racing around to come up behind you again the sun is the same in a relative way, but you're older shorter of breath, and one day closer to death every year is getting shorter, never seem to find the Time and plans that either come to naught, or half a page of scribbled lines hanging on in quiet desperation is the english way the Time is gone, the song is over, thought i'd something more to say... home, home again i like to be here when i can and when i come home cold and tired it's good to warm my bones beside the fire far away, across the fields the tolling of the iron bell calls the faithful to their knees to hear the softly spoken magic spells |
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| 5- The Great Gig In The Sky Written by: Wright Running Time: 5:50 Best Version: Dark Side Of The Moon RANKING (different version): #14 (this version ******) Comments: As far as the ratio of how good a song is in the live version to how good it is in the studio version goes, this track is nearly a perfect match. While the vocal improvisations are just slightly more perfect in the original version of this magnificent song, they are sung here with just as much beauty and intensity, but by three different female voices. The piano comes on very strongly and emotionally, and quickly gives way to the first singer. Each of the three singers has some different beauty in the way they sing. The first has high intensity behind her voice as she belts out the very loud and fast part, the second has great beauty in her voice as she brings the pace down, and the last has such painful emotion behind her voice as she carries the song through the final slow parts and into its closing. This is probably the highlight of the live "Dark Side Of The Moon" experience, and it is done here beautifully. (no lyrics) Words: ...and i am not frightened of dying, any time will do, i don't mind. why should i be frightened of dying? there's no reason for it, you've gotta go sometime...i never said i was frightened of dying... |
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| 6- Money Written by: Waters Running Time: 8:53 Best Version: Dark Side Of The Moon RANKING (different version): #20 (this version *****) Comments: The main difference between this and the original version of the song is its length. This version is, in my opinion, un-necessarily longer. The heart of this song lies in the instrumental, which is highlighted by Dick Parry's excellent saxophone solo, and is done with the utmost perfection in the original version. Here, there is an extra few minutes within the instrumental with little more than a background beat and the hum of the background singers. It's good, but it almost spoils the effect that the instrumental had in it's original verion, which was the perfect length. It's good to have a version somewhat different than the original though, and while it does lose a bit, it's still a great song, and performed here flawlessly. Lyrics: Money, get away get a good job with more pay and you're okay Money, it's a gas grab that cash with both hands and make a stash new car, caviar, four-star daydream think i'll buy me a football team Money, get back well i'm alright, jack, but keep you're hands off of my stack Money, it's a hit don't give me that do goody-good bullshit i'm in the high-fidelity, first-class travelling set and i think i need a lear jet Money, it's a crime share it fairly, but don't take a slice of my pie Money, so they say is the root of all evil today but if you ask for a rise, it's no surprise that they're giving none away, away, away... Words: ...i was in the right...yes, absolutely in the right...i certainly was in the right...you was definitely in the right...that geezer was cruisin' for a bruisin'...yeah...why does anyone do anything?...i don't know, i was really drunk at the time...i was just telling him he couldn't get into number 2, he was asking why he wasn't coming on freely, after i was yelling and screaming and telling him why he wasn't coming on freely...it came as a heavy blow, but we sorted the matter out... |
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| 7- Us And Them Written by: Waters, Wright Running Time: 6:58 Best Version: Dark Side Of The Moon Rating: ***** Comments: There is not much difference between the two versions of this song, but the original barely beats it due to the matter of intamacy. The echoes are in all the right places, the saxophone solo is done with just the right emotion, and the lyrics are sung just as beautifully as they are in the original album. The keyboards and sax work together just as well as ever, to recreate perfectly the same beauty they achieve in the studio version. Lyrics: Us, Us, Us...and Them, Them Them... and after all, we're only ordinary men, men, men... me, me, me...and you, you, you... god only knows, it's not what we would choose, would choose, would choose...to do, to do, to do... forward he cried, from the rear and the front ranks died the general sat and the lines on the map moved from side to side black, black, black...and blue, blue, blue... and who knows which is which, and who is who, is who, is who...? up, up, up...and down, down, down... and in the end, it's only round and round, and round and round, and round and round... haven't you heard, it's a battle of words? the poster-bearer cried listen, son, said the man with the gun there's room for you inside down, down, down...and out, out out... it can't be helped, but there's a lot of it about, about about... with, with, with...without and who'll deny, it's what the fighting's all about, about, about...? out of the way, it's a busy day i've got things on my mind for want of the price of tea and a slice the old man died Words: ...i mean, they're not gonna kill you, so like, if you give 'em a quick, short, sharp, shock, they won't do it again, dig it? i mean he got off lightly 'cause i would've given him a thrashing...i only hit him once...it was only a difference of opinion, but really...i mean good manners don't cost nothing, do they, eh?... |
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| 8- Any Colour You Like Written by: Gilmour, Mason, Wright Running Time: 3:20 Best Version: Dark Side Of The Moon RANKING (different version): #4 (this version *****) Comments: This, normally, is the best song of Dark Side Of The Moon, and also one of the most underrated. However, this version abandons almost all of what makes this a great song. The amazing effect of the sound coming from chaos to abrupt order, and into chaos and order existing simultaneously is all but lost here. Everything sounds as if it's merely a shadow of something that was once brilliant. I imagine it must be very difficult to reach the level of perfection that the original version of this spectacular song reached, but the entire thing is done in a completely different manner here. This is not to say that the way this song is done in this version is bad. It's actually quite good, and great in it's own way, but when compared to its original version, it pales in comparison. (no lyrics) |
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| 9- Brain Damage Written by: Waters Running Time: 3:46 Best Version: Dark Side Of The Moon RANKING (w/Eclipse) (different version): #9 (this version *****) Comments: The most noticeable thing on these last two tracks is that the voice singing the words in not that of Roger Waters. Gilmour does a fine job of singing them, but they are just not his words, and they don't sound right if it's not Roger singing. Aside from the vocalist, this song is just about as good as it's original version, though still not much of anything without the track following it. The voices of the background singers really hold it all together, and make this version, despite its one major shortcoming, a very enjoyable listen. Lyrics: the lunatic is on the grass the lunatic is on the grass remembering games and daisy chains and laughs got to keep the loonies on the path the lunatic is in the hall the lunatics are in my hall the paper holds their folded faces to the floor and every day, the paper-boy brings more and if the dam breaks open many years too soon and if there is no room upon the hill and if your head explodes with dark forebodings too i'll see you on the dark side of the moon the lunatic is in my head the lunatic is in my head you raise the blade, you make the change you rearrange me 'till i'm sane you lock the door, and throw away the key and there's someone in my head, but it's not me and if the cloud bursts thunder in your ear you shout and no one seems to hear and if the band you're in starts playing different tunes i'll see you on the Dark Side of the Moon Words: ...i can't think of anything to say, except...i think it's marvellous... |
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| 10- Eclipse Written by: Waters Running Time: 2:37 Best Version: Dark Side Of The Moon RANKING (w/Brain Damage) (different version): #9 (this version ******) Comments: The high-intensity, emotionally-driven climax of this incredible album is reproduced here in this live version with as much power as you can put forth. The fact that the voice is not Roger's does take away from it, but the background singers and intensity of the drums and instruments more than makes up for it. There is so much meaning packed into this short masterpiece, and you can feel the emotion behind it all as the band gives it all they have to bring this live performance to a spectacular close. Lyrics: all that you touch all that you see all that you taste and all that you feel all that you love and all that you have all you distrust and all that you save and all that you give and all that you deal all that you buy, beg, borrow, or steal and all you create and all you destroy and all that you do all that you say and all that you eat and everyone you meet and all that you slight and everyone you fight and all that is now and all that is gone and all that's to come and everything under the sun is in tune but the sun is Eclipsed by the Moon Words: ...there is no dark side of the moon, really...matter of fact, it's all dark. takes you back, doesn't it? thank you very much indeed, good night to you. hope to see you again. thank you very much indeed. |
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| 10- Wish You Were Here Written by: Waters, Gilmour Running Time: 6:35 From: Wish You Were Here Best Version: Wish You Were Here RANKING (different version): #10 (this version *******) Comments: This version of this magnificent song is every bit as good as its original, but for different reasons. It is the first of three incredible encore songs that give this album its life. It begins as softly as the original, with the haunting melody played on a recording, and after awhile an acoustic guitar comes in to play along with the melody, an beautiful effect which the original version lacks. Then, after a few measures, Gilmour comes in playing the harmony on his acousitc guitar, and then the lyrics begin. The audience sings along with this song, which does not take away, but rather adds a new depth to this brilliant piece of music. The instrumental between the second verse and refrain is highlighted by Gilmour's beautiful vocal improvisations. The chorus is sung by Gimour and the audience, and then the song finishes off beautifully, just as it came in. The only reason I prefer the studio version is because that version has a haunting quality which this version lacks, yet for all intensive purposes, they are both equal in beauty. Lyrics: so, so you think you can tell heaven from hell blue skies from pain can you tell a green field from a cold steel rail? a smile from a veil? do you think you can tell? and did they get you to trade you heroes for ghosts? hot ashes for trees? hot air for a cool breeze? cold comfort for change? did you exchange a walk-on part in a war for a lead-role in a cage? how i Wish, how i Wish You Were Here we're just two lost souls swimming in a fish-bowl year after year running over the same old ground what have we found? the same old fears Wish You Were Here |
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| 12- Comfortably Numb Written by: Gilmour, Waters Running Time: 9:29 From: The Wall Best Version: P*U*L*S*E RANKING: #1 ********* Comments: This is the single greatest piece of music ever recorded. Bar none. Nothing even comes close. It is beyond comprehension how such incredible beauty and perfection can be attained through music. This song reaches a level of perfection such that nothing else in God's Universe can measure up to its magnificence. Nothing I say can do it justice. I can go on forever about the emotion and power behind this incredible track, but I can not even come close to providing an accurate description. There is no adjective in English or any language that can give even the slightest hint of the perfection of this song. This song surpasses the level of perfection that the word "perfect" suggests. I can't think of anything to say, except...I think it's marvellous. From the very beginning, as the keyboards blare in through the crowd, your soul is sent into a spiral of intense, passionate emotion that it isn't given a second to recover from. Richard Wright begins singing the words, and he does so perfectly, with more power and intensity than even Roger Waters does in other versions. The first verse sets the standard of emotion that the rest of the song does not find difficulty in breaking. Another chill runs through your soul as David Gilmour begins to belt out the first chorus, with more passion than anyone has ever put forth in singing any other song in the history of music. Once the title is sung, you are sent into a short instrumental that is but a foretaste of the maginificent beauty that has yet to come. Gilmour repeats the title-line, and then Wright comes right back in with the second verse, singing with even more passion than before. And Gilmour's voice blares through once more, also managing to out-do his perfect singing of the first chorus. The level of anticipation grows and grows as Gilmour approaches the end of the chorus, the most perfect instrumental of all time just moments away. The real heart of the song has not even begun yet. Finally, the title-line is repeated for the third and final time, and with just a few beats of the drum by Nick Mason, and a few keys played by Rick Wright, the strings of David Gilmour's guitar begin to cry out the most passionate instrumental ever to be played by any mortal human being. Every single second of the instrumental to this song is packed with more emotion than a soul can feel in a lifetime. The music reaches below your soul, touching every part of you that exists, down to your very connection with the Universe of Illusion around you, and if you look hard enough into what the music is saying, you can find yourself in God. If the most powerful emotion in existence, Love, were to be taken and converted into music form, this is what you would hear. This music is Love, it is the absence of Love, is the pain, it is anger, it is depression and despair, it is elation, it is everything under the Sun. Every emotion that a soul can experience in Existence is all packed into this one song, and reaches so deeply that you cannot evin begin to understand what's going on inside. After dragging you through this sea of intense powerful experience, putting you in a state of mind where your are crying too hard for tears to fall, the final chords come on, the drums begin their final roll, and you are robbed of your breath for the longest moment of your life, overjoyed that you have just lived to experience the euphoria that you just did, yet terribly sad that it is about to come to an end, a final chill runs like electricity one last time through your soul. The final instant of the song is the longest, and as you realize you cannot breathe, you realize that you don't need to. Finally, the song comes to an end, and the monstrous applause of the audience echoes the applause inside of you, as you are sent back into the world which the music took you out of momentarily, and you are left to wonder just how such beauty and perfection can even exist in this place. There is nothing better in life than the emotion that music inspire in you. There is no better music to inspire you than that of Pink Floyd. And there is no better song by this group that can make you feel any stronger. And in the end, the only words to describe the state of emotion this song puts you in are the words that give it its title: you have become Comfortably Numb. Lyrics: hello...hello...hello is there anybody in there? just nod if you can hear me is there anyone at home? come on...come on...now i hear you're feeling down well, i can ease your pain and get you on your feet again relax...relax...relax i'll need some information first just the basic facts can you show me where it hurts? there is no pain you are receding a distant ship's smoke on the horizon you are only coming through in waves your lips move, but i can't hear what you're saying when i was a child, i had a fever my hands felt just like two balloons now i've got that feeling once again i can't explain, you would not understand this is not how i am i have become Comfortably Numb i have become Comfortably Numb okay...okay...okay just a little pin-prick there'll be no more AAAAAAaaaaaaaaaaaahhhhhhhhh but you may feel a little sick now can you stand up...stand up...stand up i do believe it's working good well, that'll keep you going through the show come on, it's time to go there is no pain you are receding a distant ship's smoke on the horizon you are only coming through in waves your lips move, but i can't hear what you're saying when i was a child, i caught i fleeting glimpse out of the corner of my eye i turned to look, but it was gone i cannot put my finger on it now the child is grown, the dream is gone and i have become Comfortably Numb... |
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| 13- Run Like Hell Written by: Gilmour, Waters Running Time: 8:36 From: The Wall Best Version: P*U*L*S*E Rating: ***** Comments: This is the final song to end the experience that is P*U*L*S*E. After you have been drained of all your emotion and energy by the previous track, you can not be left hanging. This song serves perfectly to bring you gently back to the real world, and end your experience with some simple, great music. There are many versions of this song, but this is the best. Gilmour does some excellent work with his guitar to produce the sounds that take you into this track, and by the time the music starts, you are breathing again, and ready to appreciate the brilliance of one more Floyd song. The lyrics are sung by David Gilmour, and bassist Guy Pratt, who alternate the lines. Pratt doesn't sound a think like Waters, but he does a terrific job of putting the power and intensity that belong behind these lines. This song doesn't hold a candle to the previous track, but it is absolutely necessary in order to finish the album right, and it stands alone quite beautifully. The final drum-roll lasts for what seems like minutes, and it is the perfect ending to one of the most perfect albums ever produced. Lyrics: run, run, run, run...run, run, run, run...run, run, run, run you better make your face up in your favourite disguise with your button-down lips and your roller-blind eyes with your empty smile, and you're hungry heart feel the fire rising from your guilty past with you tongue in tatters, as the cockle-shell shatters and the hammers batter down your door you better run! run, run, run, run...run, run, run, run...run, run, run, run you better run all day and run all night and keep your dirty feelings deep inside and if you're taking your girlfriend out tonight you better park the car well out of sight 'cause if they catch you in the back seat trying to pick her locks they're gonna send you back to mother in a cardboard box! you better run! Words: thank you very much indeed, thank you, goodnight! |
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