History
Pink Floyd's marketing strategy for the In the Flesh Tour was aggressive, filling pages of The New York Times and Billboard magazine. To promote their four-night run at Madison Square Garden in New York City, there was a Pink Floyd parade on 6th Avenue featuring pigs and sheep. [2] Although the Animals album had not been as commercially successful as the previous two, the band managed to sell out arenas and stadiums in America and Europe, setting scale and attendance records. In Chicago, the band played to an estimated audience of 95,000; in Cleveland and Montreal, they set attendance records for those venues by playing to about 80,000 people.[ citation needed ] They also set an attendance record in Milwaukee, playing before a reported crowd of 60,000 at Milwaukee County Stadium.
This was the Floyd's first tour since 1973 not to use female backing singers. Augmenting the band were sax player Dick Parry (who occasionally played keyboards out of view of the audience) and guitarist Snowy White, who also played bass on "Sheep", "Pigs (Three Different Ones)" and "Welcome to the Machine". Roger Waters played electric guitar on "Sheep" and "Pigs" and acoustic guitar on "Pigs On The Wing 1-2" as well as "Welcome to the Machine". David Gilmour played bass on "Pigs On The Wing Part 2" during the second and final leg of the North American tour.
In the first half of the show, the band played all of Animals in a different sequence than the album, starting with "Sheep", then "Pigs on the Wing (Part I)", "Dogs", "Pigs on the Wing (Part II)" and "Pigs (Three Different Ones)".
Mark Fisher was the architect in charge of designing the stage and all the elements that would be part of it, including the characteristic circular screen and inflatable dolls that would appear in some songs, particularly in the song "Dogs" some inflatables would appear that would be called "The nuclear family". This was the first time he would work as a stage architect, and he would repeat this work on the group's subsequent tours (except for A Momentary Lapse of Reason Tour), including Roger Waters' solo The Wall Tour. At some venues, paper sheeps and pigs designed by Tim Hunkin were fired over the audience and parachuted back to earth. [3] Some venues prohibited this, however. [3]
During "Pigs (Three Different Ones)", Waters shouted the number of the concert on the tour (such as "1–5!" for the fifteenth show) so recordings of the shows would be easy to distinguish from each other. The second half of the show comprised the Wish You Were Here album in its exact running order ("Shine On You Crazy Diamond (Parts I–V)", "Welcome to the Machine", "Have a Cigar", "Wish You Were Here" and "Shine On You Crazy Diamond (Parts VI–IX)"). This was the first time "Welcome to the Machine" and "Wish You Were Here" were played live, with the latter being played differently than the studio album. It featured an extended guitar solo, a reprise of the second verse and Richard Wright closing the song with a piano solo. The encores were "Money" and often "Us and Them" from The Dark Side of the Moon . At the Oakland, California show on 9 May they played "Careful with That Axe, Eugene" as a second encore, the first time it had been played since 1974 and the last time it was ever performed.
During the tour, Waters began to exhibit increasingly aggressive behaviour, and would often scold disruptive audiences who lit off fireworks, and yelled and screamed during the quieter numbers. [2] In the New York shows they had to use local workers as lighting technicians due to union problems with their own crew. They had several difficulties with the workers; for example, Waters once had to beckon one of the spotlights to move higher when it only illuminated his lower legs and feet while he was singing.
The final night of the tour on 6 July at Montreal's Olympic Stadium ended with Pink Floyd performing a second encore of "Drift Away Blues" as the roadies dismantled the instruments in front of the insatiable audience who refused to let the band leave the stadium. David Gilmour sat out the final encore as he was unhappy with the band's performance that night. Snowy White played a bluesy guitar solo in Gilmour's place. A small riot at the front of the stage followed the band's eventual exit. Earlier that night, Waters spat in the face of a disruptive fan; [4] The Wall grew out of Waters' thoughts about this incident, particularly his growing awareness that stardom had alienated him from his audience. [5] "It was a funny gig," recalled guitarist Snowy White. "It was a really weird vibe… I used to just do my job. But it was interesting to look across the stage and see Roger spitting at this guy at the front… It was a very strange gig. Not very good vibes." [6]
