BOOTLEG:Alan Parsons - Tilburg, Holland 5-Oct-2004

BOOTLEG DEDICADO A MIKE V.M

Alan Parsons - Tilburg, Holland 5-Oct-2004

Audiencia 320 Kbps mp3
Concierto en Holanda que gracias a nuestro amigo MIKE podemos postear en nuestro blog.
Enjoy yourself

TEMAS:

Cd1

1.01 Alan Parsons - I Robot
1.02 Alan Parsons - Damned if I Do
1.03 Alan Parsons - Don't Answer Me
1.04 Alan Parsons - Breakdown - The Raven
1.05 Alan Parsons - Luciferama
1.06 Alan Parsons - What Goes Up
1.07 Alan Parsons - Days are Numbers (The Traveller)
1.08 Alan Parsons - Time
1.09 Alan Parsons - Psychobabble
1.10 Alan Parsons - Return to Tunguska
1.11 Alan Parsons - More Lost Without You
1.12 Alan Parsons - I Wouldn't Want to Be like You
1.13 Alan Parsons - We Play the Game
1.14 Alan Parsons - Don't Let It Show

Cd2

2.15 Alan Parsons - Standing On Higher Ground
2.16 Alan Parsons - Prime Time
2.17 Alan Parsons introduces the Band
2.18 Alan Parsons - Sirius - Eye in the Sky
2.19 Alan Parsons - (The System of) Dr.Tarr and Pr.Fether
2.20 Alan Parsons - Old and Wise
2.21 Alan Parsons - Games People Play

Line-up:


ALAN PARSONS: Guitar, vocal, keyboards, percussion


GODFREY TOWNSEND: Guitar


STEVE MURPHY: Drums


P.J. OLSSON: Vocals


JOHN MONTAGNA: Bass


MANNY FOCARAZZO: Keyboards



LINK: pinkfloydpinkmoon@gmail.com

BOOTLEG: Live U.S.A 98

Live U.S.A 98

320Kbps mp3 Audience

TEMAS:

01(The system of) Doctor Tarr & Professor Fether
02 Can't take it with you
03I wouldn't want to be like you
04Old and wise
05Money Talks - La Sagrada Familia
06Days Are Numbered (The Traveller)
07Prime Time
08Limelight
09Time
10Blackbird
11Turn it up

Links: pinkfloydpinkmoon@gmail.com

BOOTLEG: ANDY LATIMER CAMEL LIVE AT THE CATALYST 2003

Aunque el blog esta dedicado a THE ALAN PARSONS PROJECT, una de nuestras debilidades siempre ha sido Camel, grupo que paro su actividad debido a una enfermedad de su lider Andy Latimer, recientemente hemos sabido que Andy practicamente ha superado su enfermedad, y que esta componiendo un nuevo álbum con CAMEL, no obstante y para quien no estuviera al tanto, os ponemos un poco en antecedentes con la enfermedad que padece desde hace algún tiempo, Andy Latimer:
En 2002 Camel anunció su gira de despedida y la esposa de Latimer Susan Hoover anunció la grave enfermedad que sufría Andy Latimer: policitemia vera. Un trastorno en la producción de glóbulos rojos en la sangre que ha derivado en una mielofibrosis, enfermedad que afecta gravemente a la médula ósea.
Entre 2008 y 2009, Andy recibe finalmente el trasplante de médula osea lo cual hizo que se recuperara practicamente en un 70%. Luego de esto, su esposa afirmó que si Camel retorna a los escenarios sería en un mínimo de un año. No obstante, Latimer sigue componiendo y trabajando en sus canciones. Se puede afirmar que ha trabajado grabando como sesionista con diferentes músicos, como es el caso del músico David Minasian quien lanzó su primer disco en 2010 en compañía del mismo Andy Latimer quien grabo gran parte de las guitarras.
Desde nuestro humilde blog le queremos dar todo el animo del mundo para que se recupere completamente y pronto lo veamos en un escenario junto con su grupo Camel.
ENLACES: pinkfloydpinkmoon@gmail.com

Enjoy yourself

Recuperamos un concierto de su ultima gira:
CAMEL LIVE AT THE CATALYST 2003
Line-up / Musicians
- Andy Latimer / guitars, vocals, flutes
- Colin Bass / bass, vocals
- Dennis Clement / drums
- Tom Brislin / Keyboards

1 Rhayader
2 Rhayader Goes to Town
3 Lady Fantasy
4 Echoes
5 Stationary Traveller
6 Drafted
7 Another Night
8 Unevensong
9 Hymn to Her
10 Mother Road

Bueno y también del 2003 os dejamos una autentica joya los miembros fundadores de CAMEL, Latimer, Ferguson y Ward (excepto PETE BARDENS tristemente fallecido) tocando juntos otra vez en una session Jam impresionante, descargatelo aqui

BOOTLEG: Alan Parsons live Project Argentina 2011

Este boot se lo queremos dedicar a nuestro amigo de Argentina
Carlos Ariaudo que asistió en directo a uno de los conciertos que Alan Parsons ofreció en este país

Grabacion de Audiencia 256 Kbps mp3

Links: pinkfloydpinkmoon@gmail.com

Enjoy yourself

1 Intro Subclones Thank You Card
2 I Robot
3 Don´t Answer me
4 Luciferama
5 Breakdown/The Raven
6 Time
7 I don´t Want to be Like you
8 One More River
9 Don´t let it Show
10 Damned If I Do
11 The Turn of a Friendly Card PART I
12 Snake Eyes
13 Nothing Left To Lose
14 The Turn of a Friendly Card PART II
15 Psychobabble
16 Old and Wise
17 Sirius
18 Eye In The Sky

ALAN PARSONS: Guitar, vocal,
keyboards, percussion
P.J. OLSSON: Vocals
MANNY FOCARAZZO: Keyboards
DANNY THOMPSON: Drums
GUY EREZ: Bass
ALASTAIR GREENE: Guitar
TODD COOPER: Vocals and Sax


Carlos Ariaudo con Alan Parsons y algunos miembros de su banda

ENTREVISTA: Alan Parsons’ Art of Listening and the Science of Sound part III

Crawdaddy!: Can people get away with just the EQ that is in their DAWs? Do you think that plug-ins or hardware is essential for great EQ?

Parsons: There’s always a box that has more musical sounding EQ than the next, but applying basic principles can be done with any [EQ]. That’s the secret—knowing what you want to achieve with EQ, and if one EQ doesn’t achieve it, then try something else.

Crawdaddy!: How can you can teach that—the art of listening?

Parsons: You can’t teach that. It’s literally, as you said, the art of listening.

Crawdaddy!: You obviously have great ears. Do you have the same ears you had when you were making Dark Side of the Moon?

Parsons: [Laughs] Well, I’m in my 60s now. You can’t change the laws of human development. There was a time that I could hear 19 KHz, and I can barely hear 14 KHz now. I think I’m blessed to have built-in early warning devices. When I was listening to too much live music, I knew I had to stop. I don’t think I’ve suffered any significant hearing damage over the years.

Crawdaddy!: You are still playing live, so you must keep a manageable stage volume.

Parsons: We all wear in-ear stage monitors.

Crawdaddy!: Do you go to concerts much?

Parsons: Not so much, no, and if I do, I take earplugs. I’m afraid I’m an old man in that respect!

Crawdaddy!: As we mentioned earlier, this loudness issue translates to recordings as well. If only a producer would stand up to a band and say, “You don’t get six guitar tracks; you only get two because anything more is sonic mud!”

Parsons: Well, it’s all about the relationship you have. A producer can’t be a dictator, and he can’t put too much of himself into working with an artist, because it is the artist’s record. But I guess I could argue that with the Alan Parsons Project, I was the artist, in a sense. Although I’m still essentially manipulating and controlling other people—directing would be a better word.

Crawdaddy!: I’ll tell you who needs a producer. The half-time show at the Super Bowl. That was embarrassingly bad, the sound at that show.

Parsons: Ah, yes, but that is often the case.

Crawdaddy!: Well, I’m trying to get my name in there. [laughs] What producers do you admire that are making music these days, or back in the ‘70s or ‘80s?

Parsons: I think that the perfect producer is the one that becomes a respected member of the overall team that makes the record. I’ve worked with so many of them, and there were so many good ones; I’ve always felt that Mickie Most [Jeff Beck Group, Donovan, the Animals] was a great producer. Sadly, he died a few years ago. He had everyone’s respect, and he knew his limits, and he knew the limits of the people he was working with. He always got great results and had a fantastic ear for a song. He could spot a hit song at 10 miles, you know?

Crawdaddy!: What about Bob Ezrin and George Martin?

Parsons: I have a lot respect for those guys, George Martin in particular. I think people can appreciate now that he really was the fifth Beatle.

Crawdaddy!: Your DVD has sort of a hall of fame of recording engineers, producers, and musicians. Was it fairly easy to line them up, and easy to select them?

Parsons: I know them all, of course. We kept bumping into each other at trade shows and at seminars and what have you. I’ve experienced how they work. Of course, engineers never work together; they’re always doing their own thing. But that’s what is so refreshing and interesting to me: To talk to them about their art, face-to-face. That was a hugely fulfilling part of making the program.

Crawdaddy!: Is there any chance of a follow-up DVD, sort of a “Master Class” that goes to the next level technically?

Parsons: We are talking about turning it into a thing where you can qualify for some kind of diploma for having viewed the series. And we are planning live studio seminars where eventually we’ll go through the process of recording a song by a band over a couple of days with a small group of people. It’s hard to compete with all the schools out there. We would have to offer something different, and in a much smaller timeframe.

Crawdaddy!: Well, I think you have already accomplished that with your DVDs. I don’t think the schools can deliver the insight and instruction directly from the kind of artists and studio professionals you have on your DVD. They don’t have the background that you have, certainly.

Parsons: Yeah, the schools, of course, can’t offer the big names. They can offer really good people. But if they were that good, they wouldn’t be teaching in schools… They’d be out there doing the job!

ENTREVISTA: Alan Parsons’ Art of Listening and the Science of Sound partII

Crawdaddy!: Do you think the success of that album changed the band’s attitude towards making records?

Parsons: I don’t know. Our relationship ended for business reasons shortly after [Dark Side of the Moon]. I was certainly up to doing another record, but the business got in the way.

Crawdaddy!: But then you moved on to the Alan Parsons Project, and that obviously worked out.

Parsons: Yeah, it could certainly be argued that the Alan Parsons Project would not have happened if it weren’t for Dark Side of the Moon.

Crawdaddy!: Given how well you were recording in the analog world and how well you knew this stuff, what was the process like moving to digital?

Parsons: It was a slow transition. First came the boxes—the Eventide boxes, and you know, digital delay. And then there was pitch correction, which was previously just a nirvana, just an unattainable thing that people thought, “Oh, you’re never gonna be able to change the pitch on something.” [laughs] So that was pretty magical at the time. And then came the CD technology that allowed us to record digitally and put it on a CD. The sound of early CDs was remarkably gritty compared to how it is now. And at the time all we could concentrate on is how clean it was. You know, no crackles, no surface noise, and the actual sounds seemed to be secondary. And that’s what everybody said—“It’s so clean and so quiet.” And our ears got sort of tuned into [the digital sound] in later years as the technology progressed.

Crawdaddy!: On your DVD, it looks like Steinberg’s Cubase is your DAW [digital audio workstation] of choice?

Parsons: It’s certainly been the one I have spent the most time with. The unfortunate fact of life is that Pro Tools is the de facto standard.

Crawdaddy!: It is. For years it was overpriced for how it sounded and what you got. I don’t believe it ever lived up to its hype in the pre-HD era.

Parsons: I had some bad experiences with Digidesign. You know, I bought these huge systems and then found two months later that they were out-of-date. But I think they have done the right thing with Pro Tools by making it hardware compatible with everything. It clearly works, and I think it’s healthy to have competition.

Crawdaddy!: What kind of commercial music do you listen to these days? Do you listen to today’s music?

Parsons: Only by default, like on the radio or whatever medium it’s on. I don’t tune into radio stations that are playing chart music particularly. And I was embarrassed to look at the album charts just a couple of weeks ago, and I only knew two of the artists in the Top 10. And one of them was the Allman Brothers! [laughs]

Crawdaddy!: Interestingly enough, a lot of teenagers have turned to bands like Led Zeppelin and Black Sabbath. I think that’s because there is a lack of good bands coming out on labels. It’s such a business now. All sizzle, no steak.

Parsons: There is a style right now that I don’t particularly like: Heavy auto-tune, heavy compression. It’s very stylized, and I don’t find it appealing.

Crawdaddy!: I think it’s a real problem that engineers over-compress and producers want it over-compressed. And then mastering engineers compress it again, and then radio stations compress it one more time.

Parsons: Yeah, and there’s nothing left at the end of the day.

Crawdaddy!: How do you get these people to stop? [laughs]

Parsons: Form a band and try to be different and try to be real. I mean, this can’t last forever, all this nonsense. It’s got to go back to musicianship. Hopefully a new wave of progressive rock.

Crawdaddy!: I agree, and I hope so.

Parsons: It’s totally manufactured now.

Crawdaddy!: I think part of the problem is that listening to an album used to be a special thing. You couldn’t do it on the bus. You couldn’t do it walking to work. You had to do it in a home or some environment where you’re focused on listening. Do you think the album is a lost format?

Parsons: Absolutely. It’s a thing of the past. We’re in an iPod world now. It’s three or four minute segments. It’s just the way they do it now.

Crawdaddy!: How do you feel about that?

Parsons: It’s disastrous.

Crawdaddy!: Perhaps that’s why vinyl records have made a resurgence. We’ve got two generations now who know little about the album concept—artwork, the production, the story.

Parsons: And part one and part two—side one, side two. That’s one of the biggest loses.

Crawdaddy!: When it comes to studios closing down on a daily basis, I think your DVD fills an important gap—in that, as commercial studios close down and of course the talented professionals who know how to operate them go with them—people are left with little choice but to go at it alone. So now we’ve got people recording in their bedroom who may know how to edit a registry in Windows or how to get real tweaky on a plug-in, but they don’t know the first thing about where to put a mic to record an instrument.

Parsons: And that’s something that people like me are likely to complain about. But I accept the fact that it isn’t necessary to do what’s going on now.

Crawdaddy!: I enjoyed watching your DVD. You seemed very accessible and a very good instructor. Was that hard for you?

Parsons: At every stage, we tried to make it better than it actually was through the editing process. [laughs] The early edits were very different than the final edits. We would literally throw out about 20 minutes, because it wasn’t quite right. It’s actually a miracle that we got it [down to] 10 hours—it couldn’t have been 20 hours long.

Crawdaddy!: So it’s kind of like making a record then?

Parsons: Yeah, absolutely.

Crawdaddy!: You seemed very comfortable talking technical to the camera. Were you?

Parsons: Well, I think that my camera presence is variable. When I see the program, I think, “Oh well, this is early on, and oh, this is when I’d been doing it for a few months.” I did get better at it. And it was all teleprompted and scripted.

Crawdaddy!: It looks great. It’s one thing to know this stuff works, and it’s another to be able to teach it. What are some of the more common mistakes home studio owners make these days that they can easily correct?

Parsons: I think a lot of engineers mic guitar amps too close, particularly live. There are live engineers, you know; they [mic] up against the cloth of the cabinet. I’ve never thought much of that technique. At least a foot away is where I like to put them. And acoustic guitars are quite difficult to record. One little trick I’ve always favored was to [put a] high pass [filter on] it. Get rid of some of the boominess. Really, there is no such thing as making mistakes. But guidance in the right direction is sometimes useful.

Crawdaddy!: It is clear from the DVD that recording is not a hard science. There is an element of art to it. And I thought the section on equalization was great. EQ is a bit of a mystery to many of us. Do you think it’s important to EQ everything in this world of canned sounds and drum loops?

Parsons: I think that EQ is now and will continue to be the most powerful tool for recording. I mean, you can turn a sound inside and out with EQ. And, providing you know the results you are looking for, it’s incredibly powerful.

ENTREVISTA: Alan Parsons’ Art of Listening and the Science of Sound part I

Home recording studios have been around since, well at least as long as Windows 95 and SCSI (pronounced “scuzzy”) Macs. They have become ubiquitous, and recording technology in its current form is so feature-packed, easy to use, and affordable (thanks to the wonders of the digital environment), home studios are respectable places to produce high-quality media. But the key ingredient missing in the digital home studio is the expertise that is part of the package when you book time at a commercial studio. Owning the technology is the easy part. Using it well is the tough bit. As sophisticated technology gets easier to use and acquire, it also gets easier to abuse (and therefore impede) your attempt to produce your own personal Dark Side of the Moon opus.

Alan Parsons, who received a Grammy nom for his engineering work on the aforementioned Pink Floyd album, has not only recognized this home studio problem, he has done something about it. In tandem with Keyfax New Media, Parsons has just released a three-DVD set aptly titled, Alan Parsons’ the Art and Science of Sound Recording. The set contains over 10 hours of excellent instruction and insight into using gear common to home studios. From acoustic treatments to EQ-ing guitars and vocals, every aspect of the recording process, both as an art form and as a science, is discussed in detail appropriate for the DIY home studio crowd at all levels of expertise. Alan Parsons’ the Art and Science of Sound Recording is a powerful aid to making the best sounding recordings possible.

Parsons started in the business as a tech at EMI where he soon became an audio engineer. He is generous in his DVD series, drawing on his 40-plus years in the industry to give viewers tips and tricks, as well as basic concepts. He was likewise generous when I sat down in my kitchen and spoke to him over my dodgy speakerphone where we covered everything from his time with the Beatles to his new DVD.

Crawdaddy!: Was it a love for music or your love for the technical that got you into EMI?

Alan Parsons: My love of music. In particular, there I was working for EMI, and that was the Beatles’ label. So I thought, “What better way to try and slide my way into the recording industry than with my favorite band?” I thought I was very well-placed to do that.

Crawdaddy!: So given you were a Beatle fan and then there you are engineering at Abby Road….

Parsons: Well, it didn’t happen quite that fast. I was in a very junior position at the point that [the Beatles'] Abby Road was being made. I was an assistant engineer, you know. I was a fetcher, a carrier, one of those kind of guys.

Crawdaddy!: I would imagine you were happy just to do that.

Parsons: Oh absolutely! And actually, chronologically, Abby Road happened after Let It Be. So Let It Be was the first thing I did.

Crawdaddy!: Ah, yes. We tend to forget that because of the release dates. What was your work on Let It Be?

Parsons: Same thing. Abby Road had been made to make the Apple Studio functional [laughs], which it wasn’t. I’m sure you’ve read all the stories about Magic Alex’s studio at Apple. I was part of the team that went in to make sound recording there a reality. And it hadn’t been until that day. We had been trying to shoot the movie without having any sound to record.

Crawdaddy!: So your job was to turn all this disparate pieces of gear into some sort of a recording studio.

Parsons: Well, actually we rejected all that Magic Alex gear and just moved portable consoles in from EMI’s vaults. You’ve probably seen the pictures of those big gray monsters. Those are the mobile recording consoles. And I was brought in as a tape op. They hadn’t taken on any other staff at that point.

Crawdaddy!: What do you think of Let It Be as an album?

Parsons: I think it was infinitely better in what became Let It Be… Naked. That’s how I remember it, and that’s how it was intended to be at the time. For whatever reason, the Beatles themselves were very unhappy with it.

Crawdaddy!: They were not very happy with themselves.

Parsons: Well, I was just a fly on the wall, but even I could tell they were not the best of friends at the time.

Crawdaddy!: So while you were working there, did you ever think, “Wow, I just mic’d John Lennon’s amp”?

Parsons: Well, yes, those thoughts did cross my mind. But, you know, Glyn Johns was the engineer, and I was paid to sit in the back of the room, roll tapes, and keep my mouth shut.

Crawdaddy!: How much recording experience had you had prior to these sessions?

Parsons: Oh, literally just three or four months. You know, just being a trainee and a tape op, just watching other people’s sessions.

Crawdaddy!: And so all the great information that you relate in The Art and Science of Sound Recording—was that learned on the job then?

Parsons: Oh yeah, absolutely. I never went to college or anything for this. It was all on the job.

Crawdaddy!: Pink Floyd‘s Dark Side of The Moon was one of the best-recorded albums, period. Did you know at the time that you were making something historic?

Parsons: I think everybody, the band included, thought it was their best work to date. I certainly did. But I didn’t think it would spend 400 weeks in the charts. I don’t think anyone really knew that it would still be around 40 years later. It’s coming up on its 40th anniversary next year, I think. [Editor’s note: Next year will mark its 39th anniversary]

Crawdaddy!: When it comes on the radio what do you do? Do you turn the station or what?

Parsons: Ha, well I guess I’m sort of immune to it now.

Crawdaddy!: Do you think you have a sound?

Parsons: I don’t particularly, but other people do. I don’t strive to be me in everything I make. It just comes over that way. I don’t know how to explain it. I do have certain favorite things that I do with certain instruments and songs. But, you know, I’d be more proud if people would say you could tell my production rather than my engineering. That would be perhaps a bigger pat on the back for me.

Crawdaddy!: It may be hard to tell them apart. They do appear seamless.

Parsons: So do you hear something on Dark Side of the Moon that you don’t hear on other Pink Floyd albums?

Crawdaddy!: That’s a great question!

Parsons: Sorry, I’m interviewing you now. [laughs]

Crawdaddy!: Well, I have to say, Dark Side of the Moon, Wish You Were Here, and Animals are my top Floyd albums. And they all have a sonic relationship. Maybe it’s just mystique, as there is some mystique in this business, but I think Dark Side of the Moon does have a certain airiness to it. A sort of tonal perfection. And I think that Dark Side of the Moon is easily the most arranged and produced of those three albums.

Parsons: Yes, I would agree. Times were good then; the band was enjoying the experience of recording together, and they were all good friends. It was fun, and I think it shows

BOOTLEG: Alan Parsons Live Project -Greek Theatre, Los Angeles, USA-28-07-95

Este post lo queremos dedicar a MIKE

Este Bootleg es parte de la colección de Mikhail V.M, un amigo Ruso que a tenido la gentileza de compartir con nosotros este valioso material, material que iremos posteando para todos los fans de APP.

CREDIT TO MIKE!!!!!!!!!!!!!!!

Alan Parsons Project
Greek Theatre, Los Angeles, USA
28 Jul 1995
Audience record APE and mp3 320Kbps

01 Alan Parsons Project - Sirius - Eye in the Sky
02 Alan Parsons Project - Turn It Up
03 Alan Parsons Project - What Goes Up...
04 Alan Parsons Project - Luciferama
05 Alan Parsons Project - Old and Wise
06 Alan Parsons Project - Can't Take It with You
07 Alan Parsons Project - A Dream Within a Dream - The Raven
08 Alan Parsons Project - I Wouldn't Want to Be like You
09 Alan Parsons Project - Take the Money and Run
10 Alan Parsons Project - Limelight
11 Alan Parsons Project - Dreamscape
12 Alan Parsons Project - Time
13 Alan Parsons Project - Prime Time
14 Alan Parsons Project - Standing On Higher Ground
15 Alan Parsons Project - Games People Play
16 Alan Parsons Project - Band introduction - Psychobabble
17 Alan Parsons Project - Don't Answer Me
18 Alan Parsons Project - You're the Voice
19 Alan Parsons Project - You're Gonna Get Your Fingers Burned

Alan Parsons - Guitar, Keyboards, Vocals & Percussion,
Ian Bairnson - Guitars
Peter Beckett - Vocals & Keyboards
Richard Cottle - Keyboards & Sax
Stuart Elliott - Drums
Felix Krish - Bass
Andrew Powell - Keyboards
Chris Thompson - Vocals, Percussion & Guitar

Links: pinkfloydpinkmoon@gmail.com

HERE mp3

HERE APE

HERE APE

HERE APE

HERE APE

HERE APE

HERE APE

BOOTLEG: E.L.O part2 - The Orchestra - OrKestra (LIVE 1990 - 2007)

Este post se lo dedicamos a Jorge Toledo un buen amigo fiel seguidor de E.L.O de Santiago de Chile

Han sido muchos e-mails pidiéndonos mas material de E.L.O, y aunque el blog esta dedicado a THE ALAN PARSONS PROJECT, haremos un paréntesis y dedicaremos otro post a E.L.O, son grabaciones en directo bastante raras, que abarcan desde 1990 con la OrKestra hasta el 2007 con The Orchestra.

Soundboard 320Kbps & flac

Enjoy yourself

TEMAS:
01 - Kiss me Red Live in Moscow 1991 (E.L.O part2)
02 - The Night has a thousand eyes Live in Moscow 1991 (E.L.O part2)
03 - Every Night Live in Moscow 1991 (E.L.O part2)
04 - Honest Men Live in Moscow 1991 (E.L.O part2)
05 - Twilight Live in Birmingham 1991 (E.L.O part2)
06 - (Medley) Livin Thing, I'm Alive & Xanadu Live in Warsaw 2000 (The Orchestra)
07 - No Rewind Live In Reno 2003 (The Orchestra)
08 - Jewel & Johnny Live in Chile 2005 (The Orchestra)
09 - Twist and Shout Live in Chile 2005 (The Orchestra)
10 - Breaking Down The Walls Live in Frankfurt 1994 (E.L.O part2)
11 - (Medley) Telephone Line, Showdown (acoustic) Live in Yorkshire 1996 (E.L.O part2)
12 - Wild West Hero Live In Lithuania 2007 (The Orchestra)
13 - Ticket To The Moon Live In Lithuania 2007 (The Orchestra)
14 - Fly Away Live in 1990 (OrKestra)

Links: pinkfloydpinkmoon.com mp3

pinkfloydpinkmoon.com flac

pinkfloydpinkmoon@gmail.com

SubClones

At SubClones HQ, we've manifested some new auditory creations for you while pClone & gClone are connecting with their dream reactor in South America. 


Our creations are available for purchase on iTunes and at SubClones.com. "Thank You Card" is the lead track and we'd like you to have it as our... Thank You. Click HERE for your free download & watch a preview video HERE.
SubClones are supporting the Wizard on the below dates in South America:


May 07, Aires Gran Rex Theater, Buenos Aires, Argentina
May 08, Aires Gran Rex Theater, Buenos Aires, Argentina
May 10, Teatro Caupolican, Santiago, Chile


SubClones create a message of hope... inspiring the listener to look inside themselves and face the changing world with courage and in turn, become part of the 'Clones themselves...


Welcome to SubClones!