DISC 1
In The Flesh (Waters) [4:41]
The Happiest Days Of Our Lives (Waters) [1:36]
Another Brick In The Wall, Part 2 (Waters) [5:52]
Mother (Waters) [5:41]
Get Your Filthy Hands Off My Desert (Waters) [0:52]
Southampton Dock (Waters) [2:16]
Pigs On The Wing, Part 1 (Waters) [1:18]
Dogs (Waters / Gilmour) [16:24]
Welcome To  The Machine (Waters) [6:54]
Wish You Were Here  (Waters / Gilmour) [4:57]
Shine On You Crazy Diamond (Parts 1-8) (Waters / Gilmour / Wright) [14:43]
Set The Controls For The Heart Of The Sun (Waters) [7:10]

DISC 2
[Speak To Me] Breathe (In The Air) (Waters / Gilmour, Wright) [3:23]
Time (Mason / Gilmour / Waters / Wright) [6:24]
Money (Waters) [6:11]
The Pros And Cons Of Hitch Hiking, Part 11 (aka 5:06 AM - Every Stranger's Eyes) (Waters) [5:20]
Perfect Sense (Parts I And II) (Waters) [7:26]
The Bravery Of Being Out Of Range (Waters) [5:04]
It's A Miracle (Waters) [8:12]
Amused To Death (Waters) [9:25]
Brain Damage (Waters) [4:08]
Eclipse (Waters) [2:19]
Comfortably Numb (Gilmour, Waters) [8:08]
Each Small Candle (Waters) [9:05]

Musicians:THE BAND Doyle Bramhall II • Guitar and Vocals Graham Broad • Drums Jon Carin • Keyboards / Lap Steel / Programming / Guitar and Vocals Andy Fairweather Low • Guitar / Bass and Vocals Katie Kissoon • Vocals Susannah Melvoin • Vocals P.P. Arnold • Vocals Andy Wallace • Hammond / Keyboards Roger Waters • Vocals / Guitar and Bass Snowy White • Guitar With thanks to Norbert Stachel for soprano and tenor saxophone Words and Music by Roger Waters except where noted Published by Roger Waters Music Overseas Limited administred by Artemis BV except :

This CD exists in 2 colours : the first one is black ; the second is purple/grey (see colour of the pig on the front sleeve)

"Dogs", "Wish You Were Here" and "Comfortably Numb" published by Roger Waters Music Overseas Limited administred by Artemis BV and David Gilmour Music Overseas Limited administred by Pink Floyd Music Publishers Limited

"Shine On You Crazy Diamond (Parts 1-8)" and "Breathe (In The Air)" published by Roger Waters Music Overseas Limited administred by Artemis BV, David Gilmour Music Overseas Limited  and Richard Wright Music Limited administred by Pink Floyd Music Publishers Limited

"Set The Controls For The Heart Of The Sun" administrated by Westminster Music

"Time" published by Roger Waters Music Overseas Limited administred by Artemis BV, David Gilmour Music Overseas Limited, Richard Wright Music Limited and Nicholas Mason Music Limited administred by Pink Floyd Music Publishers Limited

"The Pros And Cons Of Hitch Hiking, Part 11 (aka 5:06 AM - Every Stranger's Eyes)", "Perfect Sense (Parts I And II)", "The Bravery Of Being Out Of Range",
"It's A Miracle", "Amused To Death" and "Each Small Candle" published by Roger Waters Music Overseas Limited administred by Pink Floyd Music Publishers Limited

"Each Small Candle" © 1999 Roger Waters Music Overseas Limited administred by Pink Floyd Music Publishers, Inc. (BMI)

Recorded on le Mobile by James Guthrie, Guy Charbonneau and Charlie Bouis with Ted Barela, Ian Charbonneau and Joel Plante

Recorded Live at :
America West Arena, Phoenix (Arizona) [June 16, 2000]
MGM Grand Arena, Las Vegas (Nevada) [June 17, 2000]
Verizon Wireless Amphitheatre, Irvine (California) [June 24, 2000]
Rose Garden Arena, Portland (Oregon) [June 27, 2000]

Mixed at das boot recording
Assistant engineer: Joel Plante
Digital Masonry: Christopher Brooks and Rick Hart

Mastered by Doug Sax at das boot recording

Thanks to Vertigo Recording Services, Mana Acoustics, QSound™

Cover design: Chris Hudson for Hudson Wright Limited

Photography: Neal Preston & Jimmy Ienner Jnr

Liner Notes: Roger Waters talking to Nick Sedgwick

Management: Marck Fenwick, MFM Ltd.

Anyone who is familiar with my work and with the comments I've made during the course of my carreer will know that I have an antipathy towards football stadium rock shows.

These arenas are perfect for sports, political rallies, and Billy Graham-style revival meetings ... I mean, they suit God and football, but I don't think their scale is appropriate for rock'n'roll which has always worked at its best in circumstances which allow for a much greater degree of intimacy, and contact, between the performers and their audiences.

There's something about playing before 90,000 people that brings out the worst in everyone. In the performers, it can't help but encourage and exagerate the puerile, attention-seeking part of our personality which is more concerned with power and status.

Audiences for their part get sidetracked by the scale of the event, and the last thing to be properly celebrated is the music.

The connection is lost. I particularly felt this loss after the success of Dark Side Of The Moon.

On subsequent tours it felt very much if just about everything human and important - the quality of performances, as well as the fact that relationships between the members of the band had broken down - was ignored or neglected simply because ther was suddenly so much money involved, and because our lust for the concomittant acclaim was so great that genuine creative endeavour, and the authentic pleasures that accrue from it, and thus devolve to everyone else, were put on hold. The Wall, which I wrote during that time, is probably still my most thorough and articulate statement of these concerns.

My recent American tour, from which the live performances on these CDs have been chosen, was naturally faithful to my present requirements.

I have increasingly found myself directly addressing audiences, reaching out to them, if you like, in ways I hadn't attempted before, or at least certainly hadn't in the bad old days when I'd have hidden behind any prop or device to shield myself from the responsabilities, and ultimately from the rewards of that relationship. This was not something I'd deliberately planned. It simply began to develop on the '99 In The Flesh Tour and went on from here. The size of the venues, and my phisical proximity to the audiences which they allowed, obviously encouraged this adjustment, but I also think it indicates some fundamental change in my attitude towards what I do, as well as a change in my attitude towards what I want to get out of it.

Much of this has to do with understanding, or I should rather say, feeling, the truly reciprocal nature of the arrangemnts between me and my audiences.

There's a bond established between us, one which is very precious, and one from which I now derive tremendous pleasure.
At best, a kind of communion accurs in which all present are equally involved.

On these recent tours we - the band and I - came together every night just before we went on stage to perform a short ritual. It was a bracer really, but also a kind of mantra.
We'd form a circle, join hands, and shout "genuine Love!" I know that may sound a little corny, but all of us meant it.

If what subsequently occured wasn't about love - mutual affection, respect and trust - then it really wasn't about anything, so it was a pledge that we renewed every night.

That the pledge worked I'm quite certain was reflected in our performances, as well as in the audiences' warmth and enthusiasm which was ofetn overwhelming.

I hope and believe that the live material on the CDs ably expresses the quality and success of the shows, as well as giving a fresh lick to some old songs.

These fresh licks are provided by a great band whose personnel, except for the addition of a third singer, was the same for both tours.

Familiarity in this case bred a spirit of close co-operation, and a set of relationships secure enough to generate the confidence everyone requires if they are to offer input, and to exchange ideas.

Certainly, there's a discipline rooted in the songs themselves, but from within this context everybody was able to bring something of him/herself to them.

The running order for teh CDs closely follows the tour's performance programme : my favourite songs, placed alongside one another, on the basis of how good they sound together. There are some omissions of course, most conspicuously from the Dark Side Of The Moon and The Wall. Dark Side Of The Moon has been performed almost ad infinitum by another band and a double CD of live performances from the Wall shows was released recently.

It seemed pointless to repliacte the bulk of this material. Instead, I chose representative songs from these two works using the above criteria and placed them alongside rather more abscure pieces from my back catalogue.

In doing so, it was exciting, though perhaps not entierly surprising since they are all part of my oeuvre, and of my continuing narrative, to discover that the songs sounded homogeneous together no matter what order I placed them in.

It has also been exciting to put out two CDs on which songs from my solo career, especially those from Amused To Death, sit so comfortably alongside better known stuff from my earlier catalogue.

It has always been my view that anyone who knows Dark Side Of The Moon and The Wall needs Amused To Death to complete both the set and the narrative.

"Each Small Candle", the only new song on the Cds, also forms a part of the narrative. When I first wrote it, I had an idea that it would be the central piece of a new work, for which I've already written some other songs. Now, I'm not quite so sure. I seem to be considering even more personal and individual issues although, as in the new song, they all have to do with love in one form or another. It's a work in progress, and as such, subject to change.

Creativity is largely a process of disc