Thursday, 2 February 2017

BOOTLEGS of the Month - January 2017

Prior to downloading this show, the best sounding complete live Mescaleros set I had heard was the famous Benefit Concert (Firefighters) at Acton Town Hall in London, from November 2002. In fact it originally featured as the second post on the blog in 2011. It was then removed with some others, during a restructuring of those that had been officially released during the blog's lifetime. It's now available as a digital download from Hellcat Records and also on a limited Record Day vinyl release.

The following show was discovered over the Christmas/New Year holiday break and has been selected as one of the best bootlegs of the month. January is often a quiet time and this year was no exception. The best bootlegs for each month (assuming there are any) will be subsequently posted throughout the year.

Joe Strummer, former frontman of the Clash, took to the road with his band the Mescaleros, for promotional work and live dates to publicise the release of their second album 'Global A Go-Go'. The album was released by Hellcat Records/Epitaph on July 24, 2001.

After a set of in-store appearances and a one-off show in Los Angeles on August 4, the Mescaleros returned to North America in October 2001 for a limited set of shows. The North American tour was followed quickly by a short five-date UK tour, during November 2001. I was fortunate to be present for one of those shows. It was the second time I had seen the Mescaleros and when Joe took to the stage, he strode on wearing a suit, earning immense cheers and surprise at his attire. The set list was similar to this earlier show from the Key Arena in Seattle, Washington on October 17, 2001.

Where this live recording has been previously posted, the lack of source details must surely have caused many to overlook it, believing it to be an audience recording. It is either a soundboard or FM recording and has an excellent mix. I have seen it noted as an FM broadcast on old trader's lists and some compression is noticeable on the louder uptempo numbers. Limited quality recordings are available from this tour and for those reasons I recommend it to any Clash fan.

The radio interview is a bonus track and was broadcast by the BBC earlier in the year on May 24, 2001. Joe can be heard discussing Bob Dylan's 60th birthday, along with Stevie Wonder and a rather snobbish BBC presenter, who allows Joe to sing brief snatches of 'Blowin' In The Wind' and 'Just Like Tom Thumb's Blues'

Interviews with ex members of the band mention they had misgivings over the quantity of Clash songs included in the set lists of this tour. Here there are only three Strummer/Jones compositions. The new Mescaleros album has eight of its eleven songs performed live. Most of the 'Clash' songs were actually covers of some of Joe's favourite reggae tunes.


JOE STRUMMER & THE MESCALEROS   
Key Arena, Seattle, WA.
October 17, 2001

Soundboard / FM
Lineage:  Trade > CDR > EAC > WAV > Traders Little Helper > FLAC

CD1:
01. Cool 'N' Out 
02. Global-a-Go-Go 
03. Rudy Can't Fail 
04. Bhindi Bhagee 
05. Armagideon Time (Willi Williams) 
06. Shaktar Donetsk 
07. Mega Bottle Ride 
08. Tony Adams 
09. Police And Thieves (Junior Murvin/Lee Perry)
10. Mondo Bongo 
11. Johnny Appleseed 
12. Bummed Out City

CD2:
01. Police On My Back (Eddy Grant) 
02. The Harder They Come (Jimmy Cliff) 
03. Pressure Drop (Toots Hibberts) 
04. I Fought The Law (Sonny Curtis)
05. Bankrobber 
06. Yalla Yalla
07. A Message To You Rudy (Dandy Livingstone)
08. London's Burning 
09. Blitzkrieg Bop (Ramones) 
10. Radio Interview

                                  released by Hellcat Records/Epitaph on July 24, 2001


                                        ------------------------------------------------

PiL - Commercial Zone Limited Edition
(PiL Records Inc. XYZ-007)


Vinyl, LP, Album, Unofficial Release, Limited Edition (Second pressing)
Released: USA 1984

A1 Mad Max (4:15)
A2 Love Song (4:29)
A3 Young Brits (3:43)
A4 Bad Night (3:24)

B1 The Slab (3:36)
B2 Lou Reed Part I (3:59)
B3 Lou Reed Part II (Where Are You?) (2:52)
B4 Blue Water (3:34)
B5 Miller High Life (2:44)

Recorded At - Park South Studios, Manhattan, NYC
Produced by Bob Miller & Keith Levene

Notes:
Second pressing in black sleeve, retitled "Commercial Zone - Limited Edition."
On this version of "Commercial Zone" the order of the tracks on side A was changed, the song "Solitaire" was been retitled "Young Brits," and the version of "Bad Night" is slightly shorter than on the first pressing of the album. Also, "Lou Reed Part II" has been subtitled "(Where Are You?)"

Lineage: Ripped from a vinyl album released on PiL Records Inc. (XYZ 007) in 1984.


In May 1981 PIL moved from London to New York City,  their American record contract with Warner Brothers expired in October 1981 and was not renewed. In January 1982 the British music press reported that PIL had tried to record a new album in New York with producers Adam Kidron and Ken Lockie, but split instead - this was promptly denied by the band in a press release the following week.

In May 1982 drummer Martin Atkins rejoined the band and PIL started recording their new studio album for Virgin Records at Park South Studios in Manhattan, with sound engineer Bob Miller co-producing. On 29 August 1982 new bassist Pete Jones joined the band in the studio, the new line-up played its debut concert four weeks later (28 September 1982 in New York City). During the summer and autumn of 1982 the band planned to form their own record label (Public Enterprise Productions) and license its releases to Stiff Records USA for the American market, but these plans never materialized.

In early November 1982 PIL announced the imminent release of a new single "Blue Water" and a six-track mini album You Are Now Entering A Commercial Zone on their new label. This did not happen, instead the band continued recording at Park South Studios for a full-length album.

By May 1983 a new track "This Is Not A Love Song" was earmarked as a new single for Virgin Records, but PIL broke up when first Pete Jones and then Keith Levene left the band.

Keith Levene, guitarist and song writer recalls of the time “By 1983 we’d had some success and it was time to position PiL in a more mainstream yet ambiguous arena. This was an area I referred to as the Commercial Zone.” “So I went into the studio on 57th Street in Manhattan  and began writing and composing the music for the album bearing that title,”

The efforts of Levene’s labour on the first Commercial Zone demonstrate his range as a composer. Take for instance the orchestral and serene “The Slab” or the contrast of the bluesy guitar-driven Lou Reed Part I and II. Unfortunately, however, before Commercial Zone was completed, creative differences over the project resulted in Levene’s declining to continue with PiL. "It was the last thing I wanted but I had no choice really. To have stayed would have meant compromising the integrity of the project which is something I could never do,” he explains.

The remaining members, John Lydon and drummer Martin Atkins hired session musicians to fulfill touring commitments and carried on under the PIL name. The single "This Is Not A Love Song" (with "Blue Water" as a 12" single b-side), both from the Park South sessions, was released by Virgin Records in September 1983 and went to no.5 in the UK single charts.

In summer 1983, in PIL's absence, Keith Levene took the unfinished album tapes and did his own mix. He then flew over to London and presented them to Richard Branson as the finished new PIL album for Virgin Records, but John Lydon decided to completely abandon the tapes and re-record the whole album from scratch with session musicians. This new version of Commercial Zone became This Is What You Want... This Is What You Get in 1984.

Levene decided to put the album out himself on the American market and founded the label PIL Records Inc. for this one-off release. The first limited pressing was released in November 1983 and was heavily imported to the UK and European market. A second pressing (with the track listing changed around and a shorter mix of "Bad Night") followed in August 1984 in an edition of 30,000 copies, to compete directly with the official re-recorded album This Is What You Want... This Is What You Get.  Virgin Records promptly took legal actions and stopped the distribution and any further re-pressings of Commercial Zone.

 
Viewed by many as the last true PIL album, Commercial Zone was reviewed by Melody Maker upon release:

"THIS is not a bootleg, this is the real alternative to that other record, a private view of the Public Image, a strictly import-only insight into the way they were. This record sets the record straight from the Keith Levene point of view, a collection of original PiL ephemera which puts the tin lid on Levene's involvement in the band up to the acrimonious parting of the ways last summer. Five of the eight tracks on This Is What You Want... appear here in embryonic form, accompanied by one or two Levene works and a couple of apparently unreleased Lydon/Atkins/Levene efforts.

Of the exclusives, Bad Night (no relation to Bad Life) is the most intriguing item, Levene owning up to his Velvet's influence and Lydon wailing in a particularly discordant, yet peculiarly appealing manner. And doubtless the faithful will make the sacred pilgrimage to the local disc relic of PiL history, featuring as it does an authentic sounding Public Image, the last of the real McCoy before the advent of the last cynical studio bound release.

The Slab is a moody instrumental worthy of Irmin Schmidt which surfaced on This Is What You Want as Order Of Death. Mad Max evolved into Bad Life, and Lou Reed Part 2 became Where Are You - all different enough in execution to warrant a listen if only out of curiosity. Commercial Zone is not such a bitter PiL to swallow - perhaps this is what you want? (Andy Hurt - Melody Maker, August 1984)


                          The official release appeared in July 1984 on Virgin records V 2309
So now you know the story behind the album and are wondering, what are the real differences between the two versions? Here's my opinion:

01. Bad Life (aka Mad Max)
Compared to 'Mad Max' this is evidently more finished but it reminds me of those needless remixed versions you would get on a 12-inch single. The more minimalist Levene version is best
02. This Is Not A Love Song (aka Love Song)
Add in horns and vocal overdubs, and it makes for a too busy mix. A great song with a superb bass line, the rhythm section at times is reminiscent of Frankie Goes To Hollywood! The remix is good but the horns really detract from the song.
03. Solitaire (aka Young Brits)
A more funky disco version, a reviewer wrote 'Death Disco' without the Death.
04. Tie Me To The Length Of That 
05. The Pardon
06. Where Are You? (aka Lou Reed Part II (Where Are You))

On Commercial Zone it's as close as PIL came in the 80's to the jagged dissonant sound they had in 1978-79. Here the guitar is vanquished and replaced by keyboards with additional vocals, the sharp edges and spooky feel of the original is lost, overdubbed into excessive 80's oblivion.
07. 1981
08. The Order Of Death (aka The Slab)

The original was a perfect example of less is more. This remake has additional repetitive vocals and keyboards with the drums more upfront. Still a decent tune but Levene's version is superior.


Thursday, 15 December 2016

BEST BOOTLEGS 2016


From numerous bootlegs downloaded and listened to throughout 2016, a quarter were discarded. The remainder were considered worth keeping, either on disc or the best on hard drives for safe keeping and possible future uploads.

The titles covered in this PDF booklet are in my opinion:

The 50 best bootlegs available for download from the web in 2016.
 (of those not already in my collection)


 

Emailed direct to all members, non-members can request details via the email address on the top right-hand side column.

The PDF document comprises:

    38 pages A4
    Word count 19,960
    50 bootleg images


Full details have been included for each bootleg such as:
  •     Venue
  •     Date of performance
  •     Type of recording - soundboard, FM, from the audience, etc.
  •     Taper’s name if available
  •     Lineage
  •     Running time
  •     Website address
These details should enable you to quickly locate any particular title of interest. I have not provided a sound quality rating as all are of sufficient high quality to rate around 5 out of 5, some are worthy of 5+ like the best official releases. Further details include:
  •     Complete track listing
  •     Track timings
  •     Informative comment on each bootleg.
  •     Index
  •     Brief details of the best of the rest including a further 10 bootlegs
Included are bootlegs by:
  • TELEVISION
  • DAVID BOWIE
  • REM
  • TOM VERLAINE
  • MISTY IN ROOTS
  • CRANBERRIES
  • SPARKLEHORSE
  • IGGY POP
  • LED ZEPPELIN
  • CREAM
  • RORY GALLAGHER
  • BECK
  • DAVID SYLVIAN
  • JAPAN
  • NEIL YOUNG & THE PROMISE OF THE REAL
  • CRAMPS
  • RADIOHEAD
  • DAVID GILMOUR
  • SUICIDE
  • PJ HARVEY
  • GEORGE THOROGOOD & THE DESTROYERS
  • FLEETWOOD MAC
  • BLONDIE
  • PATTI SMITH
  • SMASHING PUMPKINS
  • BIG AUDIO DYNAMITE
  • NEW ORDER
  • BEATLES
  • NIRVANA
  • POGUES
  • PINK FLOYD
  • THE WHO
  • SIMPLE MINDS
  • GANG OF FOUR
  • SPECIALS
  • TRIFFIDS

Wednesday, 2 November 2016

#100 BOB DYLAN - Carnegie Hall, New York - 1963 (Flac)


BOB DYLAN
Carnegie Hall, New York City, NY
October 26, 1963
(LB-6180)


The complete Carnegie Hall concert began circulating in 2008 via torrent sites as did the six month earlier concert at Town Hall, both shows are superb and will surely be released someday on the official bootleg series. Bob Dylan was moving so fast and leaving a trail of music behind that Columbia’s plans for releasing a concert from these two shows were abandoned. The planned album made it to the acetate stage and crackling copies have circulated for years amongst Dylan collectors.

This is the complete Carnegie Hall concert from October 26, 1963 and is the source tape used by bootleggers ‘Hollow Horn’ for their ‘Unravelled Tales’ release in 2008. Since circulating, it has been subjected to many cut up postings. I’m not sure if the complete original source is still available on the net today but if not, here is your chance to obtain one of Dylan greatest early performances without the bootleggers edits and fades. The sound quality is virtually flawless

High calibre songs from the third album sessions and relegated to outtake status "Percy's Song", "Seven Curses", and "Lay Down Your Weary Tune" were performed to a rapt, sell-out Carnegie audience. Only two tracks from the forthcoming ‘The Times They Are A Changin'' album did not appear on the Carnegie set list; ‘One Too Many Mornings and the closing ‘Restless Farewell’ 

These files stem from my original download saved to hard drive, there were no notes included with the audio files apart from the md5 text. 

This recording was succinctly described by a blog reader as: 

 "One of the most important recordings in American history"

  

CD1
1 crowd
2 The Times They Are A-Changin'
3 Ballad Of Hollis Brown
4 Who Killed Davy Moore
5. Boots Of Spanish Leather
6 John Birch Society Blues
7 Lay Down Your Weary Tune
8 Blowin' In The Wind
9 Percy's Song
10 Seven Curses
11. Walls Of Red Wing
12 North Country Blues
13 A Hard Rain's A-Gonna Fall


CD2
1 Talking WWIII Blues
2 Don't Think Twice, It's Alright
3 story
4 With God On Our Side
5 Only a Pawn in Their Game
6 Masters Of War
7 The Lonesome Death Of Hattie Carroll
8 When the Ship Comes In



Tuesday, 1 November 2016

#99 GRATEFUL DEAD - Barton Hall, 1977 (Flac)

Barton Hall, Cornell University
Ithaca, NY.
May 8, 1977

*40th Matrix*



SBD (shnid=4982):
Betty Board -- Master 7" Nagra reels 1/2 track @ 7.5ips>Sony PCM 501. Playback on Sony PCM 701>DAT (Digital Transfer) -- Rob Eaton DBX Decoding (Spring '99) Playback on Panasonic 4100 DAT>DB 924 D/A>Dolby 361's w/dbx K9-22 Cards>DB 124 A/D>Neve Capricorn (Digital mixing console)>DB 300S>Panasonic 4100 DAT>DAT>Digi Coax Cable>Tascam CD-RW 700>CDR (x1)>SHN (Rob Eaton remaster)

AUD (shnid=29303):
Handheld Shure 57's, 10 Feet From Stage, DFC>TC152>MCMC>CDR>EAC>WAV>FLAC

Recording And Transfer: Jeff Stevenson

Thank you to Rob Eaton for the SBD transfer, and to Jeff Stevenson for recording this all-time great show.
Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC>AIFF>Final Cut>WAV>FLAC)
February 5, 2009

Set I
d1t01 - Minglewood Blues
d1t02 - Loser
d1t03 - El Paso
d1t04 - They Love Each Other
d1t05 - Jack Straw
d1t06 - Deal
d1t07 - Lazy Lightning ->
d1t08 - Supplication
d1t09 - Brown Eyed Women
d1t10 - Mama Tried
d1t11 - Row Jimmy

d2t01 - Dancin' In The Streets
Set II
d2t02 - Take A Step Back
d2t03 - Scarlet Begonias ->
d2t04 - Fire On The Mountain
d2t05 - Estimated Prophet
d3t01 - St. Stephen ->
d3t02 - Not Fade Away ->
d3t03 - St. Stephen ->
d3t04 - Morning Dew

Encore------
d3t05 - One More Saturday Night


Jerry Garcia - Lead Guitar, Vocals
Donna Jean Godchaux - Vocals
Keith Godchaux - Keyboards
Mickey Hart - Drums
Bill Kreutzmann - Drums
Phil Lesh - Electric Bass, Vocals
Bob Weir - Rhythm Guitar, Vocals

Notes:
Warning: this might steal your face - the sound is impeccable, thanks to truly excellent sources for a matrix.
-Hunter February 14, 2010



Revisiting The Grateful Dead's 1977 Barton Hall show

By Luke Z. Fenchel | Wednesday, February 10, 2010



For a large subset of music fans, a single concert on May 8th of 1977 captured a monumental moment, and ranks above any other show in rock history. It speaks to the lasting significance of the Dead, and the lives of its listeners, that only a few thousand people were there to hear it.

The legendary show is best known as "Barton Hall '77". Fame often distorts factual details, and the myth of May 8th might make what went on up at Cornell that strange and snowy spring night ultimately unknowable. But long before it was etched in the minds of Deadheads through the viral spread of audience tapes, culminating with the pristine soundboard recording that surfaced in 1987, Barton Hall was simply a stop between Boston and Buffalo on a well-regarded live band's itinerary.

"The Barton Hall show has - as have many things Grateful Dead - grown in stature over the years," said John Scher, who co-promoted the '77 show with the Cornell Concert Commission, revolutionized concert promotion while working with the band, and transformed The Capitol Theatre in Passaic, New Jersey into one of rock's most hallowed halls. "And probably if as many people were there as say they were there, you'd be talking about hundreds of thousands of people."

"I actually know people who I know weren't there who thought they were there because they've heard the tapes for so long," Scher continued. "It's hard to say. I saw hundreds upon hundreds of Grateful Dead shows, and it is one that sticks out in my mind, but probably to some degree I'm as guilty as the next: I was there, I remember it being a very joyful show, but because I've heard it many times since, and because of the legend of the show, it magnified itself." 

Booking the band 

"I always thought of this as my show," said Pat O'Brien, who was graduated from Cornell in 1977, and who was the chair of the Cornell Concert Commission during the lead-up to Barton Hall show. "From the moment it was booked. This was my graduation month, and they were my favorite band."

According to Mike McEvoy, the CCC's chairman of the selection and market research committee from '76-'78, a well-received Monday night appearance at Bailey Hall in October 1975 by a Jerry Garca side project "began to lay some of the groundwork."

"Ithaca is not on the route maps for most bands. So it has to fit in well from a scheduling standpoint too," he said. "And after all the discussions I had with [Scher's business partner] David Hart and the people at Monarch over time, we were ready - and they were comfortable."

"The stars were all in alignment, shall we say" McEvoy added.


Taping the show 

"Of what I was able to listen to, and from the crowd response, you could tell the band was on that night," McEvoy said of the show he booked and worked. "The Grateful Dead have a little bit of history, and there are nights that the band is not really on as much as other nights. And that night at Cornell they were really on."

"The band was at their playing peak," said Scher. "Cornell and Ithaca in general were very hospitable to the band and to their fans. I think there were a lot of Cornell students, a lot of Ithaca College students, and lot of Syracuse students for whom the Dead were their favorite band of the era. It was a nice day; the topography around Cornell is really different and interesting - the gorges. I remember seeing Deadheads staring at and looking at, with sort of 'Wow' on their faces."

Scher continued: "And everything just clicked for the band that night: both onstage, sound-wise for the audience, and vibe-wise for the interaction between the band and audience."

"I guess where we get most of our converts is from any of a number of good nights we have," Bob Weir told musician and journalist David Gans in an Aug. 9, 1977, interview. "It's pretty evident that what we're doing is going fishin' and sometimes we come up with catfish and sometimes we come up with trout."

"'Barton Hall '77' became that legendary for a number of reasons," Scher said. "The band was at the height of their powers. And because the band always shared their music with the fans, and always let them tape, which in those days was very, very unusual, and pretty much unheard of, when they performed a show as magical as this one was, the word spread not only by word of mouth, but also by listening."

He added, "I'm sure the tapes were duplicated thousands - tens of thousands of times."

"If you wanted to listen to field recordings, you either listened to somebody's fifth- or seventh- generation copy, or you went out and made your own," said Eddie Claridge, who was responsible for more than a few field recordings of the Dead, and whose audience tape from May 16, 1981, at Barton Hall is a phenomenal document of a completely different period for the band. (Claridge also recalled a May 7, 1980, tape he made when the Dead changed "Playing in the Band" to "Playing in the Barn" "because of the interesting acoustics.")

"We loved the music, and this was the most effective way to do it. If you spent the time to learn what you were doing, you could make quite a good field recording," he said. "And once you got it, it was hard not to do it at other shows. And that made some of us persona non grata at some other bands' shows."

"I missed Barton hall because I had a business commitment," Claridge added. "Of course I regret I wasn't there."

"Just because I saw 50 shows that year doesn't mean I wouldn't have wanted to see more." He continued, wistfully: "Of the whole spring ['77] tour, Barton Hall and Buffalo were the only ones I missed."

But the show was captured by someone who was probably in Claridge's social circle. Claridge didn't want to speculate, but likely candidates include Jerry Moore or Steve Maizner. (Moore, who edited Dead Relix magazine from 1974-1977, and who was one of the "original tapers," passed away on June 3, 2009; Maizner was unavailable for comment). The provenance is less important than the tape's existence.

Between October '74 and June '76 "[t]he underground Grateful Dead tape trading network had blossomed," Blair Jackson writes in his biography "Garcia: An American Life." Even before the Dead's "retirement" was better recognized as an 18-month hiatus from touring (between October 1974 until June 1976 the Dead only performed a handful of live shows), grassroots dissemination of live Dead recordings unofficially partnered with more traditional means of distribution, like the radio. (Jackson pointed out that of the four 1975 shows, one was broadcast nationally on the radio, and another was a free concert with Jefferson Starship that drew 25,000 people even though it took place the day it was announced.)

"Between audience-made concert tapes and the numerous Dead shows that had been recorded for FM radio broadcasts, there were many tapes in circulation among traders by the mid-'70s," Jackson writes. "This encouraged more people to collect tapes and become tapers themselves."

"There were not very many people taping in '75," Claridge said. "If you were to cite a number in the double digits for the whole country you'd be pretty close." He continued: "If I went to a show in '77, chances are that anyone in the room that was recording was someone I knew. And by 1980, at any given show there would be 150 guys recording."

Though Scher seemed to be speaking of field recordings - known as audience tapes by Dead fans - the "Betty Boards" were just as important to a show's acclaim.

"[Barton Hall '77] was the first really great tape to come out that everybody had in their collection," Rob Eaton, Dark Star Orchestra's founding member said. "So it became a favorite listening piece: a vehicle to listen to the Dead at all times because it was pristine quality of a really good show from a really great time period."



The second set 

"I was in the back of the hall when the second set started, and they launched into 'Scarlet > Fire' which is kind of a classic hallmark of the Cornell show," said McEvoy, who went on to work with rock promoter Bill Graham (the promoter of that nationally broadcast radio show in '75). "I've come to realize that all I need to do is mention the Cornell show and a knowledgeable person who knows The Grateful Dead would say, Scarlet Fire."

"I would say that it is one of the highlights, but it is not the only highlight," David Lemieux, The Dead's tape archivist and CD producer since 1999 said of Barton Hall's "Scarlet > Fire" in a phone conversation from his home in British Columbia, Canada. "When you listen to April 22 - May 28, you realize there are a lot of highlights." Lemieux quickly added: "There is so much great music; it is without a doubt one of the great tours in the history of The Dead."

Barton Hall may be simply the most well known. "I agree with the people who say [the Dead reached its peak on] May 8, 1977," a fellow named Jimmy - who said he had been to every show in the New York area since 1972 - told the Times' Ben Ratliff in the Fall of 2008.

"It's sort of ubiquity breeding consensus," said Gary Lambert, longtime editor of the Grateful Dead and host of "Tales from the Golden Road" on Sirius XM's Grateful Dead Channel. "It's like saying that the popularity of 'Star Wars' somehow makes it inherently greater than a film like 'Shoot the Piano Player.'" He continued: "I would just rather talk about the fact that the band was playing at such a level."

Lambert noted up front that "Barton Hall does not particularly stand out because I was never a great seeker of or accumulator of tapes at the time." He first "stumbled" on the Dead on May 5, 1968 in Central Park, but was living on the West Coast by '77. "I first heard the 'Terrapin' [album] material in March of '77 at Winterland," he told me, with palpable excitement in his voice. "And hearing those songs for the first time in was already revelatory, even though they were just testing them out as live pieces, because they had a compositional complexity was apart from what [the band] had tried before."

"Instead of coming up with a riff and developing it live - [the Dead's] method used to be to turn a jam into a tune - 'Terrapin' was a really well-written song, and it came out well-realized," he continued. "So by the time it become a live performance piece it was already very well developed and only got better."

The next shows Lambert caught came after the spring tour, again at Winterland. "Those June '77 shows were extraordinary, and for those of us who had seen them in March, June was like the payoff." He continued: "Everything had become a glorious beautiful monster, and there was a sense that the band had emphatically shaken off whatever cobwebs they had acquired during their nearly two year hiatus."

"Any number of shows from the spring circuit are arguably just as good as Barton hall," Lambert said finally, citing Hartford, Buffalo and Chicago as examples."

Buffalo and Chicago are not commercially available, but the Hartford soundboard recording is (05/28/77, as "To Terrapin"), as is the second of three nights at the Palladium in New York (04/30/77, released as the first installment in the Grateful Dead download series), and three consecutive Southern dates (05/19/77, 05/21/77 and 05/22/77, released as Dick's Pick's 29 and 3).

Lemieux compared soundboards in the vault (Hartford, for instance) to Barton, one of the many that are missing. "It's not exactly comparing apples and oranges, but comparing oranges and tangerines." He continued: "[Barton Hall] sounds pretty good. The non-commercial release was never mastered in HDCD. The commercial releases have gone through some technology that adds a heck of a lot."

"WOW!!" John Dwork writes of the audience recording in the Hartford '77 entry of The Deadhead's Taping Compendium, Vol. II. "Highlights: The entire tape." The entire review continues ecstatically, concluding with a wish, "What a fine, fine performance. I sure wish there was a soundboard of this show." That wish is now a reality.

Barton Hall '77 does not include the "Terrapin" suite, though it does include "Estimated Prophet" from the '77 studio record "Terrapin Station," as well as Hart and Hunter's "Fire on the Mountain." ("TS," "EP" and "Samson and Delilah" from the album were played in Boston on May 7; the complete Barton Hall '77 set-list and almost all others are available on The Taping Compendium as well as on deadlists.com, and all over the internet).

"If Barton Hall '77 only existed in the memory of 4,000 people, and if every show had been equally available and equally recorded, I engage in [the] hypothetical if," Lambert mused. "If you could separate the experience and the artifact, then probably the Barton show would not be as highly regarded."

Later, Lambert said: "I could get into analysis [of Barton Hall] I'm happy to get into that. If you ask me about the best shows of 1977, I would be hard pressed to call any show a best show without 'Terrapin Station.'"

"It doesn't matter what they played!" Lemieux exclaimed after hearing about Lambert's comments. "To me it's about performance quality... I have never even considered [the set-list part] of the quality of the show."

"Remember Barton Hall saw one of the rare 'Morning Dew's' played at the time," Lemieux continued. "They only played it a few times on that tour, so 'Morning Dew' itself is something significant. As is 'Saint Stephen.' And a brand-new 'Estimated Prophet.'"

O'Brien recalled: "The only specific thing is that I do remember when they started up "St. Stephen," because I thought, Oh Yes!"

"You always wondered if they were going to play 'St. Stephen,'" Dave Pohl, a local musician and music fan said over his dining room table last week. "And same with 'Morning Dew.' So to hear both things in such proximity was important for me."

Pohl continued: "And 'Estimated Prophet.' That's not even my favorite song, but I remember when they played it something was going on there. It was special."

"If you look at the five songs Deadheads would want to hear, 'St. Stephen' was always there. It is one of the songs you seek out like crazy," Lemieux said.

"I've characterized the Grateful Dead as 'America's longest-running musical argument-" Gans told Phil Lesh in an interview on June 30, 1982 for a piece in Musician magazine. "The very definition of a musical argument is something that keeps going, and that you uncover new details and new combinations," Lesh said in response. "A musical argument is not the same as a verbal argument...That's really a good description, in sort of an abstract verbal sense."

"You know, I'm not as obsessed as the next ten people you're going to talk to and I don't make lists of favorites," Gans said by phone from his home in the bay area. "It's just not something I can rattle off. I don't give a shit." Gans continued: "What I can say of the spring tour is that it's interesting-great-music, and I can tell you why."

"I can't tell you what I think about the show," O'Brien said, firmly and flatly. "Most of my family was there. Many of my brothers came up; one worked the show." O'Brien added, "I could never be objective because, as I said, It was my show. I can't be objective."

More than 30 years on, Barton Hall '77 has become one of the best-known performances of arguably the finest live band in American history. "It's simply classic. It makes the hairs on the back of your neck stand up," Dennis McNally told Cornell Magazine in 1997.

"What the Grateful Dead invented, and what they inherently knew, was that the more people that had the music, that got to participate, the better fans they would become. The community created camaraderie, and they would make fans and [fans] would make tapes. Lifelong friendships were made by audience members, not only by seeing friends at shows, but the relationships that were made by trading of tapes."

"There has been no band in history that has the sociological effect on the public more than the Dead," Scher said towards the end of our interview. "The Dead had social impact on millions of people." 

Audience and Soundboard, Experience and Artifact 

"What the Grateful Dead invented, and what they inherently knew, was that the more people that had the music, that got to participate, the better fans they would become," Scher said. "The community created camaraderie: they would make fans, and [fans] would make tapes. Lifelong friendships were made by audience members, not only by seeing friends at shows, but the relationships that were made by trading of tapes."

"There were lots of tapes around before that," Artie, a longtime Ithaca music scene veteran, told me when we met on a late afternoon at the State Street Gimme! Coffee. He opened his briefcase, and took out three CD-Rs that he placed on the table in front of us.

"Well this was, as you know, one of the first Betty Boards that widely circulated. As a matter of fact, I brought for you the soundboard of the entire show," he said, nodding to the CD-R stack of three.

He pressed a fourth CD-R into my hands, and said, "But this is the audience that I prefer. There were tapers around. Many of them traveled some of the same social circles I did."

"Personally," Artie continued, "the soundboards are amazing, but on the other hand they are... for me I listen to recreate the experience of being there. The audience tapes crackle with energy. In fact I stood right there, and I can hear myself on the tape. So at times when I would yell, or the people I was with would yell, you can hear it."

"In fact, people who have passed away...I...uhh listened to it today." Artie was tearing up. He continued, "And I thought about one person I was with who was my best friend at that point, and who has since passed away, and you can hear him on the tape. He yells out periodically during solos. And in fact for me, that's one of the most important parts of the tapes, when I will periodically listen to tapes." He paused. "I don't listen to tapes much anymore."

"For most people, when they have special moments like this, there is no artifact. Their memory is their only connection to it. What a luxury I have to have this artifact. I play it, people who are gone are there with me. The space sounds the same, and the connection is amplified-it's so much more real."

"It's a memory-reinforcing-tool"

"What's the difference between the best and my favorite," Artie asked later. "Who am I to judge?"

"It's less about the best and more about your experience. To me, Barton Hall is a largely widespread if not universally acknowledged Dead show." He added: "33 years on, people are still talking about Is It Or Isn't It. Well, is not that the indicator right there?"

"If you're into it, who am I to judge?"

More than 30 years on, Barton Hall '77 has become one of the best-known performances of arguably the finest live band in American history. "It's simply classic. It makes the hairs on the back of your neck stand up," Dennis McNally told Cornell Magazine in 1997.


Thursday, 27 October 2016

#98 TOM WAITS - Postaula, Bremen, Germany April 26, 1977 (Flac)




This show was volume one of the Wolf HQR Remasters but that source was from an FM broadcast.
This is the pre-fm upgrade.

Tom Waits
Bremen, Germany
Postaula
1977-04-26

01 Step Right Up
02 Semi Suite
03 Fumblin' With The Blues
04 Midnight Lullaby
05 Emotional Weather Report
06 Nobody
07 I Can't Wait To Get Off To Work
08 New Coat of Paint
09 Grapefruit Moon
10 Diamonds On My Windshield
11 The One That Got Away
12 Small Change
13 Spare Parts
14 Invitation To The Blues / Eggs And Sausage
15 Depot, Depot
16 The Piano Has Been Drinking
17 Pasties And A G-String

Tom Waits (p,voc)
Frank Vicari (sax)
Dr. Fitzgerald Jenkins III (b)
Chip White (dr)

CDR (preFM) - xACT
Support the artists by buying their records.



corrected artwork for back cover





Wednesday, 26 October 2016

#97 BRUCE SPRINGSTEEN - The Complete Nebraska Session (Flac)





BRUCE SPRINGSTEEN
The Complete Nebraska Session
Colts Neck, New Jersey
December 1981 - January 1982 

from THE LOST MASTERS I:
Alone In Colts Neck
Labour Of Love  LOVE 001


Volume 1, was the gem of the Lost Masters set for many people. The long-awaited original acoustic version of Born in the USA can finally be heard, and the true meaning of the song cannot be ignored in an arrangement somewhat similar to the solo acoustic tour version, albeit a bit faster. One has to wonder how differently the song would have been received had this version been released.

Downbound Train was another song supposedly recorded for Nebraska, and, it must be said, was done a favour when Bruce and the E Street Band later recorded it for Born in the USA.

Child Bride is essentially Working on the Highway but slowed down tremendously, and some say that Child Bride is better than it's album counterpart; a friend said that if the entrepreneurs behind the Lost Masters were ever tried, they could play Child Bride back to back with Working on the Highway and they would be acquitted.

Another interesting note is the song Losin' Kind about a couple who commit a crime before crashing their car in the snow, essentially the same song as Highway 29, released almost 14 years later on The Ghost of Tom Joad album.
 

1.Nebraska (4:27)
2.Atlantic City (4:02)
3.Mansion On The Hill (4:00)
4.Born In The U.S.A. (3:04)
5.Johnny 99 (3:32)
6.Downbound Train (2:26)
7.Losin' Kind (4:52)
8.State Trooper (3:07)
9.Used Cars (3:01)
10.Open All Night (2:49)
11.Pink Cadillac (5:24))
12.Deputy (5:30) - aka "Highway Patrolman"
13.Reason To Believe (4:01)
14.Child Bride (5:27)
15.Dream Baby (0:34)
16.Precious Memories (1:11)
17.Nebraska #1 (1:15)
18.Nebraska #2 (1:13)

Total Time: 60:01 



Notes:
Solo acoustic demos for "Nebraska"
Taken from the original 4-track cassette mixes of the "Nebraska" acoustic home demos
Tracks 15-16 Location(s)/date(s) unknown

Original Labour of Love disc---EAC(secure)---SHN   (7-2003)
(Re) post newsgroup ABMS > Traders little helper verified SHN > WAV > FLAC Level8   (11-2006) Info taken from Brucelegs


Further information on the sessions can be found at Brucebase, the bootleg title 'Complete' being a bit of a misnomer see:

 http://brucebase.wikispaces.com/Nebraska+-+Studio+Sessions

Tuesday, 25 October 2016

#96 JIMI HENDRIX - Berkeley 1st show, May 30, 1970 (Flac)



Berkeley Community Theatre, 
Berkeley, CA.
Saturday 30 May 1970 
(first show)

Complete Soundboard (ATM-0256/257)



Jimi Hendrix arrived in Berkeley - a town that, in 1970, was synonymous with radical political thinking and protest. A week earlier, a riot over Peoples Park left one man dead and others wounded. The previous month, anti-ROTC demonstrators battled police on the University of California campus, and the destruction was so extensive that the campus had been shut down completely. 

It became well known that a feature-length film was to be made from these performances. Not only did this stir even more controversy, but the clamour for tickets was at a near hysterical state. Over a thousand ticketless fans were outside and determined to get in. These elements all combined to create a pressure-cooker atmosphere. Both the music and film Jimi Plays Berkeley reflect all of these things.

Jimi Hendrix - vocals and guitar
Billy Cox - bass and vocals
Mitch Mitchell - drums

Speeches:
1st speaker Bill Graham
2nd speaker unknown

Recorded on 8-track by Abe Jacob with the Wally Heider mobile truck.

This set is an upgrade of ATM-0123/24 The Berkeley Concerts, now presenting the entire show in continuous uniform soundboard quality. Star Spangled Banner & Purple Haze were completely missing from the older versions of the soundboard tape and the ATM discs, as well as the start of both Foxy Lady & Freedom.  The distortion audible on the previous ATM release is gone.

Disc 1
01. Intro (cut at 2.56)
02. Fire
03. Johnny B Goode
04. Getting My Heart Back Together
05. Foxy Lady
06. Machine Gun

Disc 2
01 Freedom
02 Red House
03 Message to Love
04 Ezy Ryder
05 Star Spangled Banner
06 Purple Haze
07 Voodoo Child (Slight Return)

It seems that all copies of the Berkeley soundboard tapes originated from Bob Terry. The Cooper Owen auction listings for the tapes included three reels with the 2nd part of the concert. It is however probable that Terry also had similar reels for the 1st half, for some reason omitted from the auction (like many other tapes he had), so very likely all of his Berkeley multitrack mixdowns were on 15 ips 10" Ampex reels or similar studio quality tapes.

Several different edits of his Berkeley tapes, were circulated. The basis of this set was a low generation cassette originally received from Bob Terry that came into circulation in 2011. Unlike previous versions this cassette came directly from him and includes all of the music but has some cuts between songs.

This set uses a new transfer of that cassette (made on different equipment than the transfer circulated in 2011) as the main source with cuts between the tracks, some drop-outs, noises and the end of Voodoo child (slight return) patched with the dub/edit of the tape that was used for the previous ATM release 0123/24. There's only one cut remaining and that occurs pre-concert before Jimi enters the stage. There's no way to be sure if Bob Terry used his original reels to dub the cassette used as the main source here, it's also quite possible that he dubbed from a safety copy. So the lineage of the main source would read something like this:

Master (multitrack) > 15ips mixdown reel (> reel?) > cassette > wav
The exact lineage of the patch sources is unknown.

The second show has been officially released.


 




Sunday, 9 October 2016

#95 SONIC YOUTH - Walls Have Ears (Flac)

Sonic Youth - Live:
University of London - 30 October 1985
Brighton Beach - 8 November 1985
Hammersmith Palais, London - 28 April 1985


Prepared for release by the band, as a double LP, but hastily withdrawn soon after. Sonic Youth’s most superlative "bootleg" is a perfect example of their breakthrough and live sound in 1985. It was compiled from tracks recorded at three venues. The first seven tracks at U.L.U (the University of London Union), on Wednesday 30th October, followed by one track of lesser sound quality at Brighton Beach on Friday 8th November and finishing with selections earlier in the year, from the Hammersmith Palais on Sunday 28th April. The track listings have been corrected, the notes also mention two further tracks Brother Jam-Z and Killed + Kicked Off, both of these are absent from this CD version. Fully deserving of its status, every Sonic Youth fan should have this one in their collection.


Setlist:
01. Anouncement (2:03)
02. Green Light (4:14)
03. Brother James (3:42)
04. Kill Your Idols (4:05)
05. I Love Her All The Time (5:06)
06. Expressway To Your Skull (8:50)
07. Spahn Ranch Dance (Death Valley ’69) (7:15)
08. Blood On Brighton Beach (3:40)
09. Burning Spear (4:19)
10. Death Valley '69 (6:58)
11. Speed Jamc (1:29)
12. Ghost Bitch (4:54) >
13. I’m Insane (5:40)
14. The World Looks Red (4:51)
15. Flower (aka The Word (E.V.O.L.)) (2:52)

Silver CD rip
Running Time: 70:06

 Note that the artwork has some incorrect song titles.
>