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StyleSheet for use when a translation requires any css style changes.
This StyleSheet can be used directly by languages such as Chinese, Japanese and Korean which need larger font sizes.
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/* Fixes a feature in Firefox where print preview displays the noscript content */
noscript {display:none;}
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<div class='title' macro='view title'></div>
<div class='subtitle'><span macro='view modifier link'></span>, <span macro='view modified date'></span> (<span macro='message views.wikified.createdPrompt'></span> <span macro='view created date'></span>)</div>
<div class='tagging' macro='tagging'></div>
<div class='tagged' macro='tags'></div>
<div class='viewer' macro='view text wikified'></div>
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<div class='toolbar' macro='toolbar [[ToolbarCommands::EditToolbar]]'></div>
<div class='title' macro='view title'></div>
<div class='editor' macro='edit title'></div>
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To get started with this blank TiddlyWiki, you'll need to modify the following tiddlers:
* SiteTitle & SiteSubtitle: The title and subtitle of the site, as shown above (after saving, they will also appear in the browser title bar)
* MainMenu: The menu (usually on the left)
* DefaultTiddlers: Contains the names of the tiddlers that you want to appear when the TiddlyWiki is opened
You'll also need to enter your username for signing your edits: <<option txtUserName>>
These InterfaceOptions for customising TiddlyWiki are saved in your browser

Your username for signing your edits. Write it as a WikiWord (eg JoeBloggs)

<<option txtUserName>>
<<option chkSaveBackups>> SaveBackups
<<option chkAutoSave>> AutoSave
<<option chkRegExpSearch>> RegExpSearch
<<option chkCaseSensitiveSearch>> CaseSensitiveSearch
<<option chkAnimate>> EnableAnimations

Also see AdvancedOptions
recorder: Philips DCC170 
microphone: Realistic 33-1065 

a very good audience recording
recorded by Songhunter
Enjoy !

-65:29 minutes-
transfered by a Philips DCC 951 - optical - PC - EAC - FLAC6 - You 

01 Intro / Phyllis Ruth
02 Sac of Religion
03 Haw
04 Black Soul Choir
05 Harm's Way
06 Splinters
07 Clogger
08 Brimstone Rock
09 Low Estate
10 I seen what I saw
11 American Wheeze
12 For Heaven's Sake
13 Fire Spirit

more info: http://www.16horsepower.com/crossingborder98.html
Lineage: fm>cas (1st gen>Soundblaster>wav>shn

Announcer (1:30)

Roberto Plano - Piano

Villa-Lobos   Ciclo Brasileiro: Impressoes Seresteiras (6:14)

Announcer (0:13)

Ginastera   Danzas Argentinas, Op. 2

Ning An - Piano


Debussy   Preludes, Book II:
   La terrasse des audiences du clair de lune (4:49)
   Ondine (3:18)

Announcer (0:11 + 0:23)

Maria Mazo - Piano
Tchaikovsky-Pletnev   Concert Suite from The Nutcracker(9:28) 

Ying Feng - Piano
Brahms Variations on a Theme by Paganini, Op. 35, Books I and II
Announcer (0:10)

Total Time: 57:38
Lineage: fm>cas (1st gen>Soundblaster>wav>shn

Joyce Yang - piano

Announcer (4:27)
Carl Vine: Piano Sonata No. 1 (1990) (17:32)

Announcer (0:56)
Dvorak: Piano Quintet in A major, Op. 81 [with Takacs Quartet]
I. Allegro ma non troppo (10:30)
II. Dumka: Andante con moto - Un pochettino piu mosso (7:49)
III. Sherzo (Furiant): Molto vivace - Trio: poco tranquillo (10:46)
IV: Finale: Allegro (7:58)
Lineage: fm>cas (1st gen>Soundblaster>wav>shn

Announcer (3:00)
Alexander Kobrin - Haydn: Sonata in E-flat major, Hob. XVI:52 (15:00)

Announcer (1:00)
Sa Chen - Liszt: Spanish Rhapsody (13:02)

Announcer (0:34 + 3:05)
Joyce Yang - Beethoven: Piano Concerto No. 3 in C minor, Op. 37 (35:14)

Announcer (0:20)
Joyce Yang - Liszt: Reminiscences de Don Juan (17:47)

Announcer (1:05)
Alexander Kobrin - Rachmaninoff: Rhapsody on a Theme of Paganini, Op. 43 (24:35)

Announcer (0:30)
Giles Collins Wallace McDonald Jakszyk
2CDs 107min Sharp MD-SR60>Sony ECM-DS70P>WAV>FLAC

Walk On
A Man A City
Cat Food
Let There Be Light
Cadence And Cascade
Court Of The Crimson King
Ladies Of The Road

Catleys Ashes
Formentera Lady
Sailor's Tale
I Talk To The Wind
21st Century Schizoid Man

(*unless any CJ3 gigs were captured, this may be the last performance of Ian Wallace recorded by fans.  

(**Missing Encores: Starless, Birdman

disc 1
1. Fanfare for the Common Man
2. Desde la Vida
3. Lover to Lover
4. You Do or You Don't
5. Hoedown
6. Talkin' Bout

disc 2
1. Creole Dance
2. On My Way Home
3. Runaway
4. Standing in the Shadows of Love
5. America/Rondo/Drum Solo
6. Eight Miles High
The wiki will be under startup construction for a bit. My goal is to have it up to date by July 1, 2006.

I'm also working on an RSS feed, so you can just subscribe to updates.
Crazy Eights
Mysterious Conversation
Ursula in Summer
Drifting into the Attack
Theme from an Imaginary Western
Uptown Breakdown
Sleight of Hand
Bloody Mary
Something in B Flat

Jack Bruce - bass, vocals
Billy Cobham - drums
Allan Holdsworth - guitar
Didier Lockwood - violin
David Sancious - keyboards

Trade history
jazzvines: offered 2007-08-04

Sound: A
Show: A
Take These Hands and Throw Them in the River
American Motor Over Smoldered Field
Mountains Made of Steam
On Silver Mt. Zion (movie never made)
God Bless Our Dead Marines
(some fucking car with gull wing doors)
Ring Them Bells (freedom has come and gone)
The Triumph Of Our Tired Eyes
Hang On To Each Other

Lineage: Mic (Sony ECM-DS70P)> Uncompressed recording (iRiver H120 - 16/44 WAV)> SoundForge (EQ, slight compression, some declipping)> FLAC v1.1.2a (Q5)
Taped by: Etienne Blythe
Transferred by: Etienne Blythe

Fly on the Wall
Back in Black
Shake Your Foundations
Dirty Deeds Done Dirt Cheap
You Shook Me All Night Long
Sin City
The Jack
Shoot to Thrill

Highway to Hell
Sink the Pink
Whole Lotta Rosie
Let There Be Rock
Hell's Bells
For Those About to Rock (We Salute You)
Lineage:  CSBs > Edirol RO9 > Soundforge (edits)
Accademia Bizantina, Ottavio Dantone - conductor, Sonia Prina - Contralto

A France Musique recording

Antonio Vivaldi (1678-1741): Forgotten Arias

: (from) La Ninfa infelice e consolata (1732)
01 - Sarai qual padre mio 03'19"
: (from) La Silvia Rv734 (1721)
02 - Abbia respiro il cor 06'09"

: Concerto for violin in Bb major for violin, strings & basso continuo ??
03 - I 04'37"
04 - II 02'54"
05 - III 04'23"

: (from) Teuzzone Rv736 (1719)
06 - Vedi le mie catene 02'38"
: (from) La Verita in Cimento Rv739 (1720)
07 - Mi vuoi tradir, lo so 02'58"

: Concerto in A minor opus 3/6 for violin, strings & basso continuo Rv356
08 - I Allegro 03'16"
09 - II Largo 01'53"
10 - III Presto 02'19"

: (from) Teuzzone Rv736
11 - Per lacerarlo 02'40"
: (from) Tito Manlio Rv738 (1720)
12 - Tu dormi in tante pene 09'42"

: Concerto in A minor opus 3/8 for 2 violins, strings & basso continuo Rv522
13 - I Allegro 03'20"
14 - II Larghetto e Spirituoso + III Allegro 06'39"

: (from) L'odio vinto della costanza (1731)
15 - PerchŽ lacero il foglio 04'29"

: (from) Concerto for two violins No 5 opus 3 Rv519
16 - III Allegro 02'46"
total 64'32"

FM Radio Broadcast (Musiq3 (RTBF) july 20th, 2007) => Onkyo T-401 (analogic) receiver => Audacity 1.3.2 (Creative Commons: SourceForge.net) 32 bits 44100 Hz => Flac 16 bits 44100Hz with PowerPC G4/533 Mhz Digital Audio Apple MacIntosh => Ubuntu 7.04 Feisty Fawn
=> Please do not encode to MP3 or other lossy file format except for personal use !!! for trade only, Please do not sell !!! enjoy !!! FA2007-140

Writing on the Wall
Walk around the World
Young Lions
Beat Box Guitar
I Remember How to Forget
Elephant Talk
Big Electric Cat
Matchless Man
Of Bow and Drum
Frame by Frame
Future Vision
Three of a Perfect Pair
Inner Man
Thela Hun Ginjeet

Sound: B+
Show: A
Writing on the Wall
Future Vision
Walk Around the World
Young Lions
Beat Box Guitar
I Remember How to Forget
Matchless Man
Elephant Talk
Big Electric Cat
Of Bow and Drum
Frame By Frame
Three of a Perfect Pair
Inner Man
Thela Hun Ginjeet

Sound: B
Show: A
"After Genesis"
Alessandro Cavicchi - pianist, arranger e composer.
Alberto Bocci - first contrabass for prestigious orchestras.
Andrea Baggio - digital sound.

Title: The Cryme of Selling Lambs 

Date: 05. 08. 2003
Venue: Giardino di Sant'orsola, Prato
Country: Italy
Source: DAT 
Quality: A+  
Media: 1CD-R 

Note: Trio of Prato composed from orchestra masters,
than to of recent published a disc of reworks of music of the Genesis for
contrabass, piano and loop vocal.

Track # Track Name Track Length 
1.1 Firth Of Fifth - 11:46 
1.2 Medley: 12:13
      For Absent Friends
      Seven Stones
1.3 Harold The Barrel - 4:16 
1.4 The Lamb Medley - 34:11
1.5 Harold The Barrel (encore) 4:35 

Total Running Time : 67:03 

1. High On Sunday 51 
2. Goodbye Caroline 
3. You're With Stupid Now 
4. You Could Make A Killing 
5. Save Me 
6. Video 
7. One 
8. Little Bombs 
9. Lost in Space 
10. It's Not Safe 
11. 4th of July 
12. Medicine Wheel 
13. Nothing is Good Enough 
14. You Do 
15. Frankenstein 
16. Invisible Ink 
17. Red Vines 
18. Humpty Dumpty 
19. Wise Up
Party in the Park II

1. [10.17] Alien Chase on Arabian Desert
2. [11.23] Senor Mouse
3. [06.16] Egyptian Danza
4. [08.44] Al Di's Dream
5. [03.22] Beyond the Seventh Galaxy
6. [02.43] Dinner Music of the Gods
7. [14.13] Race with Devil on Spanish Highway
8. [01.09] DJ Outro

Sound: A
Show: A
Disc 1
1 Sirius/Eye In The Sky
2 I Wouldn’t Want To Be Like You
3 Can’t Take It With You
4 Old And Wise
5 Money Talks/La Sagrada Familia
6 Days Are Numbers (The Traveller)
7 Prime Time
8 Limelight
9 Time
10 Turn It Up
11 Standing On Higher Ground
12 Blue Blue Sky II
13 I Can’t Look Down
14 So Far Away

Disc 2
1 Fall Free
2 Cloudbreak
3 Brother Up In Heaven
4 (The System Of) Dr. Tarr & Pr. Fether
5 Psychobabble
6 Don’t Answer Me
7 Band Intro/You’re Gonna Get Your Fingers Burned
8 Games People Play
Transfer: CD-R from trade > EAC > FLAC Level 8 > you 
Sound Quality: A in my rating and ears.... 

Disc 1  66min    
1 Magical Mystery Tour
2 Open My Eyes
3 Sirius/Eye In The Sky 
4 Crazy On You 
5 My Wife 
6 Hello It’s Me/Don’t Answer Me
7 You’re The Biggest Part Of Me
8 How Much I Feel
9 Bang On The Drum
10 The Real Me
11 Games People Play
12 Dreamboat Annie
13 Barracuda/My Generation

Disc 2  75min
1 Back In The U.S.S.R. 
2 Lady Madonna
3 I’m Down
4 The Fool On The Hill 
5 While My Guitar Gently Weeps
6 Here Comes The Sun
7 Lucy In The Sky With Diamonds
8 You’ve Got To Hide Your Love Away
9 Everybody’s Got Something To Hide....
10 Revolution
11 Day Tripper
12 I Want To Hold Your Hand/Blackbird
13 Rain
14 Let It Be
15 Ticket To Ride
16 Hey Jude
17 Birthday
18 Golden Slumbers/Carry That Weight/The End

Alan Parsons: Guitars, Vocals & Keyboard 
Todd Rundgren: Guitars & Vocals 
Ann Wilson: Vocals & Flute 
John Entwistle: Bass & Vocals 
David Pack: Guitars & Vocals 
Godfrey Townsend: Guitars 
Steve Loungo: Drums 
John Beck: Keyboards 

Nice recording from A Walk Down Abbey Road Tour -  a tribute to The Beatles.
Out of a frequency analysis I did of I’m Down, I guess a MiniDisc recorder is used.
Since I got this in a trade I dont have any info
about lineage, taping equipment etc. 

This is intended for free trade only. Do not buy or sell!!
Transfer: CD-R from trade > EAC > FLAC Level 8 > you 

Disc 1 
1 Magical Mystery Tour 
2 Sirius/Eye In The Sky 
3 Barracuda 
4 Hello It’s Me 
5 You’re The Biggest Part of Me 
6 The Real Me 
7 Back In The U.S.S.R. 
8 Lady Madonna 
9 I’m Down 
10 The Fool On The Hill 
11 While My Guitar Gently Weeps 
12 Yesterday 
13 Here Comes The Sun 
Disc 2
1 Lucy In The Sky With Diamonds
2 You’ve Got To Hide Your Love Away
3 Maybe I’m Amazed
4 Rain
5 Blackbird
6 Everybody’s Got Something To Hide Except Me And My Monkey
7 Revolution
8 Day Tripper
9 Ticket To Ride
10 I Want To Hold Your Hand
11 Hey Jude
12 Birthday
13 Golden Slumbers/Carry That Weight/The End

Alan Parsons: Guitars, Vocals & Keyboard 
Todd Rundgren: Guitars & Vocals 
Ann Wilson: Vocals & Flute 
John Entwistle: Bass & Vocals 
David Pack: Guitars & Vocals 
Godfrey Townsend: Guitars 
Steve Loungo: Drums 
John Beck: Keyboards 
Intro/I Robot
Damned If I Do
Don't Answer Me
The Raven
What Goes Up
Return to Tunguska

More Lost without You
I Wouldn't Want to Be Like You
We Play the Game
Don't Let It Show
Prime Time
Sirius/Eye in the Sky
Dr. Tarr and Professor Fether
Old & Wise
Games People Play
VHS transfer (Madrid)
Pro-Shot (Spain)

    I Robot  instrumental

    Can't Take It With You vocals: P.J. Olsson

    Don't Answer Me vocals: Alan Parsons

    Breakdown / The Raven vocals: Steve Murphy / P.J. Olsson

    Time vocals: P.J. Olsson

    Psychobabble vocals: Steve Murphy

    I Wouldn't Want To Be Like You vocals: John Montagna

    Damned If I Do vocals: P.J. Olsson

    More Lost Without You vocals: P.J. Olsson

    Don't Let It Show vocals: P.J. Olsson

    Prime Time vocals: Godfrey Townsend

    band intros

    Sirius / Eye In The Sky vocals: Alan Parsons


    (The System Of) Dr. Tarr and Professor Fether vocals: P.J. Olsson

    Games People Play vocals: Alan Parsons / P.J. Olsson


This concert was sponsored M80 Radio in Madrid.


    ALAN PARSONS: Acoustic Guitar, Keyboards and Vocals

    P.J. OLSSON: Acoustic Guitar and Vocals

    GODFREY TOWNSEND: Lead Guitar and Vocals

    STEVE MURPHY: Drums and Vocals

    MANNY FOCARAZZO: Keyboards and Vocals

    JOHN MONTAGNA: Bass Guitar and Vocals
Minidisc MZ-NH700 & Coresound Binaural Mics >> Sonicstage wave >> Audobe Audition >> WAV >> Traders Little Helper >>Flac level 6
MD5 file created with Traders Little Helper

01 I Robot
02 Damned if I do
03 Don’t answer me
04 Breakdown
05 Lucifer
06 Day after day (the show must go on)
07 La Sagrada familia
08 Time
09 Psychobabble
10 I wouldn’t want to be like you
11 We play the game
12 Don’t let it show
13 Prime time
14 Sirius / Eye in the sky
15 Can’t take it with you
16 Old and wise 
18 Games people play
19 (The system of) Doctor Tarr and Professor Fether


Aldo Romano - drums
Louis Sclavis - clarinet, sopranosax
Henri Texier - bass

01 Daoulagad (Texier)
02 Standing Ovation (for Mandela) (Romano)
03 Entraves (Texier)
04 Les Petits Lits Blancs (Sclavis)
05 (unknown)

FM > cassette > CDR > EAC > WAV > Audacity (minor track editing) > FLAC
CoreSound Binaurals > BeyerDynamic MV100 > Sony TCD-8

Track Listing:

1.	Intro
2.	Short Order
3.	Blue Trout
4.	Lay this Body Down
5.	Cumulus Rising
6.	Inverness
7.	Angel
8.	Sweet William
9.	It Ain't Necessarily So
10.	Intro
11.	St. James Infirmary
12.	Shortnin' Bread
13.	The Water Garden
14.	Down Below
15.	Single Girl
16.	Sleepytime
17.	Goodbye Porkpie Hat, Last Steam Engine Train
18.	Tuning
19.	Turning, Turning Back

Allan Holdsworth - guitar
Alan Pasqua – keyboards, piano
Jimmy Haslip – electric bass
Chad Wackerman – drums


CD 1
1. Radio Intro [1:08]
2. Track02 [9:48]
3. Track03 [10:06]
4. Track04 [16:59]
5. Track05 [8:34]
6. Track06 [3:41] (fade out Radio Announcer)
7. Track07 [10:06]
8. Track08 [11:03]

1. Track01 [14:44]
2. Track02 [6:32]
3. Track03 [9:08] (fade out)

Statesboro Blues
Don't Keep Me Wonderin'
Done Somebody Wrong
One Way Out
In Memory of Elizabeth Reed
Midnight Rider
Hot 'Lanta
Whipping Post
You Don't Love Me

Trade history:
2007-08-12 received in trade

Taped and transferred by Lee Hart
leehookem21 at yahoo dot com 

Source: AKG 483 (DINa @7') > Warm Mod UA5 > Jb3 on ice (SVU-1)
Transfer: JB3 (firewire) > Creative Playcenter > Soundforge 7.0 (fades) > CDWave (tracking) > flac level 6

03 Anecdote
04 Heavy Lifting
08 Primitive (The Way I Treat You)
09 Sugar Pill
11 encore
12 Yoga Means Union

Amy's set:
1. [tuning up]
2. Shopping Around
3. Cynically Yours
4. Beer & Kisses
5. Are We Ever Gonna Have Sex Again
6. Summer of My Wasted Youth
7. Keep It to Yourself
8. I Hate Every Bone in Her Body
9. Magicians
10. Til the Wheels Fall Off (w/ Todd Snider)
11. Balls
12. 20 Questions

Todd's set:
1. Easy Money
2. 45 Miles
3. [Devil's Backbone intro]
 Ballad of the Devil's Backbone Tavern
4. D.B. Cooper
5. [Moondawg story]
 Moondawg's Tavern
6. Doublewide Blues > Why Don't We Get Drunk and Screw (Jimmy Buffet)
7. [Moondawg's funeral]
 Can't Complain
8. Beer Run
9. Class of '85
10. Waco Moon
11. [Tillamook County Jail story]
 Tillamook County Jail
12. [End of Tillamook County Jail story]
 Keep Off the Grass
13. Vinyl Records
14. What's Wrong with You
15. Alright Guy
16. Illegal Smile (John Prine)
17. Freebird > Sideshow Blues

1. [Skip story]
2. Satisfaction (Rolling Stones) (w/ Amy Rigby)
3. Satisfaction Guaranteed (w/ Amy Rigby)
4. Somebody's Comin'
5. I Believe You/Amazing Grace
1. Young Persons Guide To The Orchestra 
2. Time And A Word / Owner Of A Lonely Heart / Teakbois  
3. Clap  
4. Mood For A Day  
5. Wakeman Solo 
6. Long Distance Runaround / Bruford Solo  
7. Birthright  
8. And You And I  
9. I've Seen All Good People  

1. Close To The Edge  
2. Themes
3. Levin / Bruford Duet  
4. Brother Of Mine  
5. Heart Of The Sunrise 
6. Order Of The Universe  
7. Roundabout  
8. Starship Trooper  

The Young Persons Guide intro was extended, probably because Jon was late getting to the stage.

The Meeting was dropped for this show.

Taped by Kevin Hall & Carl Morstadt 

Sony WM-D6C Professional Walkman recorder
2 Beyer M-700 microphones
Maxell metal cassettes

Mastered and FLAC'ed by Carl Morstadt (dantalion8@yahoo.com)
Master Cassettes -> 
Aiwa AD-WX808 cassette deck -> 
M-Audio Firewire Audiophile 2496 -> 
CDWAV 24-bit/96-KHz wav files ->
Goldwave (normalizing and crossfades) ->
CD Wave (track breaks) ->
FLAC Front End (FLAC 8)

No EQ'ing.

A 16-bit/44.1-KHz flac16 version of this show is also available.

1. Young Persons Guide To The Orchestra 
2. Time And A Word / Owner Of A Lonely Heart / Teakbois  
3. Clap  
4. Mood For A Day  
5. Wakeman Solo 
6. Long Distance Runaround / Bruford Solo  
7. Birthright  
8. And You And I  
9. I've Seen All Good People  

1. Firebird Suite  
2. Close To The Edge  
3. Themes (nice Quad effects)
4. Levin / Bruford Duet  
5. Brother Of Mine 
6. The Meeting  
7. Heart Of The Sunrise 
8. Order Of The Universe  

1. Roundabout  
2. Starship Trooper  

This show was still early in the tour (the fourth show), and finds the band experimenting with setlist and sound effects.  This may be the only show with the Firebird Suite, which drops right into the opening jam of Close To the Edge.

They were also experimenting with quadrophonic sound, with stacks of speakers on the lawn handling those effects like at old-style "azimuth coordinator" Floyd shows.

We moved to the lawn for the second set to better capture the quad effects, and found a nice spot near one of the speaker stacks.  During Themes especially you can hear the sound moving in and out of the lawn speakers.

 Taped by Kevin Hall & Carl Morstadt 

Sony WM-D6C Professional Walkman recorder
2 Beyer M-700 microphones
Maxell metal cassettes

Mastered and FLAC'ed by Carl Morstadt (dantalion8@yahoo.com)
Master Cassettes -> 
Aiwa AD-WX808 cassette deck -> 
M-Audio Firewire Audiophile 2496 -> 
CDWAV 24-bit/96-KHz wav files ->
Goldwave (normalizing and crossfades) ->
CD Wave (track breaks) 

dBpowerAMP Audio Converter (24-bit/96-KHz wav files converted to 16-bit/44.1 KHz wav files) ->
FLAC Front End (FLAC 8 with sector boundary alignment)

No EQ'ing.
There have been a number of different versions/remasters of this show floating around for some time. A number of those versions have no lineage and/or come from higher-gen copies. This post is not a rehash or reseed of those versions. 

This is a brand new transfer direct to cd-r from the metal cassette masters and it comes to us courtesy of BF. This show is well-known because Tony Levin collapsed a short time after the concert due to illness. The next night's concert at the Dallas Starplex was cancelled. This Houston gig is a very tight performance by the band and a fine recording as well. Song samples provided. Enjoy!

Metal cassette master tapes>cd-r>Bias Peak Pro 5.2.1>Xact>flac

Setlist: Disc One (78:57)
1. Time And A Word/Owner Of A Lonely Heart/Teakbois
2. Clap
3. Mood For A Day
4. Wakeman Solo
5. Long Distance Runaround/Bruford Solo
6. Birthright
7. And You And I
8. I've Seen All Good People
9. Close To The Edge
Disc Two: (67:09)
10. Themes
11. Brother Of Mine
12. The Meeting
13. Heart Of The Sunrise
14. Order Of The Universe
15. Roundabout
16. Starship Trooper

Never, Never Sell This!
Lineup	:	
Jon Anderson	 (Vocals)
Bill Bruford	 (Drums)
Steve Howe	 (Guitars)
Rick Wakeman	 (Keyboards)
Julian Colbeck	 (Keyboards)
Tony Levin	 (Bass)
Milton McDonald	 (Guitars)

Young Persons Guide To The Orchestra
Time And A Word/Owner Of A Lonely Heart/Teakbois
Mood For A Day
Wakeman Solo
Long Distance Runaround/Bruford Solo
And You And I
Levin/Bruford Duet
Brother Of Mine
Tombo No Megane
The Meeting
Close To The Edge
Order Of The Universe
Heart Of The Sunrise
I've Seen All Good People
Audience > DAT > 1st copy > eac > wave > flac frontend 

Disc 1 :

01. Intro (2:50)
02. Stella (7:18)
03. Angoh! / Band Introduction (10:05)
04. New & Unreleased (3:14)
05. Dancing With The Lion (5:28)
o6. Cor Do Amor (4:26)
07. Passionata (7:05)
08. Under One Moon (7:30)
09. Belladonna (3:44)
10. Morgana Palace (12:57)

Disc 2 :

01. Behind The Garden (13:15)
02. The Secret, The Candle And Love (3:28)
03. Moon Dance / Geastrum Coronatum (10:15)
04. First Free Improvisation Encore (11:15)
05. Second Free Improvisation Encore (5:53)

Andreas Vollenweider - Electric Modified Pedal Harp, Vocals
Walter Keiser - Drums, Percussion
Andi Pupato - Percussion
Daniel Küffer - Keyboard, Saxophone, Flute, Percussion, Akkordeon
Andrew Hill-p
Scott Colley-p


Program: In the Moment
Presenter: Jim Bennett
KCSM FM 91.1 San Mateo CA

Intro: 3:26
Nichodemus 12:54
blah :40
Image of Time 12:31
blah :10
Bayou Red 19:38
blah :14
Malachi 7:44
Outro: 1:24

Andrew Hill Quintet:

Andrew Hill, piano
Charles Tolliver, trumpet
Marty Ehrlich, tenor saxophone
John Hebert, bass
Eric McPherson, drums

This is for Ron Lyles who has given me so much music I am glad to be able to return the favor! Enjoy.
Bill D.

FM broadcast > Philips CDR765 > Adobe Audition 2.0 > dBpowerAMP Music Converter 11.5 

Andrew Hill (p)
Scott Colley (b)
Nasheet Waits (d)

1. Medley: But not farewell / Nicodemus  33:45
2. Medley: Smooth / Golden sunset  20:54

TT 54:39

Taped & Transferred by peterw
Late Show

This tape was given to me by the person who recorded it. Neither one of us can remember if this is the master or a 1:1 copy generated at real-time. The taper wishes to remain anonymous, but wants me to convey greetings to Ms. Haslam.

"Hi Annie!"

The equipment was probably a Sony D-3 with the stock microphone. The recorder was very close to the stage.


Carpet Of The Sun
Black Flame
Intro to Ocean Gypsy
Ocean Gypsy
Still Life
Intro To Reaching Out
Reaching Out
Intro To The Willow Song
The Willow Song
Annie Has A Good Laugh
Let It Be Me
No Beginning, No End
Annie Talks About New York
Mother Russia
Band intros
Encore: (unknown song)

Please supply track corrections!

Tape: Maxell Epitaxial XLII-90


A DoinkerTape
w/ Lassad Hosui, Barbaros Erkoese 
01 Introduction
02 Sur Le Fleuve
03 Le Voyage De Sahar
04 L'Aube
05 Les Jardins De Ziryab
06 Nuba
07 E La Nave Va
08 Cordoba
09 Halfaouine
10 Eté Andalous
11 Vague / E La Nave Va
12 Zarabanda
13 Outro

Anouar Brahem - oud
François Couturier - piano
Jean Louis Matinier - accordion

Omroep Radio 6
Astra 1G DVB @ 256kbps
11 September 2007
no set list

lineage: fm>?>cd-r>eac>flac(6)
FM>???>CDR>EAC>FLAC 6 (w/sector align)

1. Bahdra
2. Kashf
3. Talwin
4. Uns
5. Kernow
6. Hizam Al Dhabbi

Anouar Brahem     -oud
Dave Holland      -bass
John Surman       -sax
1975 or 1976
SBD > cassette > Total Recorder > HDD > CDR

1. Alto saxophone 14:16
2. Clarinet 6:35
3. Flute 8:12
4. Bass clarinet 11:53
5. Alto saxophone 2:46
6. Alto saxophone 5:38
7. Encore: I Remember You (Words & Music by Johnny Mercer & 
Victor Schertzinger, 1942 First recorded by Jimmy Dorsey, 1942) 10:49

Anthony Braxton - alto saxophone, clarinet, flute, bass clarinet
Dave Holland - bass

received in trade
Disc One:

01) Intro (John Bell)
02) Fixin' To Die
03) No Egos Underwater
04) Shoeless Joe
05) Yield Not To Temptation
06) Planet Earth
07) Time Flack
08) Salty Dog
09) Ain't Nothing You Can Do*
10) Compared To What
11) Trondossa
12) Workin' On A Building

Disc Two:

01) Zambi>
02) Space Is The Place/Rocket #9> Drums> Space Is The Place>
03) Jazz Bank>
04) Davy Crockett
05) Cheese Frog
06) E:) Time Is Free
Compared to What?
Time Flack
Working on a Building
Black Bottom
Planet Earth
Fixin to Die>
Time is Free
No Egos
Cissy Strut$^
Yield not to Temptation$^%
Basically Frightened $^%
Down By the River(*)$%(#)
Zambi $%(#)&
Space is the Place$%(#)&

(*) with Luther Dickinson - guitar/guitar & vocal on 'Down By The Riverside'
$ with Skerik - sax
^ with Eric Krasno - guitar
% with Jeff Coffin - sax
(#) with Eric Levy - keys
& with Fareed Haque - guitar (joined in towards end of 'Zambi')

Source: AKG 483 > warm mod.UA-5 > Kind Kables Digital Pathcbay > Hosa ODL-276 > JB3 (DFC-30')
Lineage: JB3 > Firewire > CDWave > FLAC16
Taped by: MojoWill
Transferred by: Bennett Schwartz

Sound: A
Show: A
Neighborhoods #1 (Tunnels)
Crown of Love
Neighborhoods #2 (Laika)
No Cars Go
Headlights Look Like Diamonds
I?m Sleeping In A Submarine
Vampire/Forest Fires
In the Backseat
Neighborhoods #3 (Power Out)
Rebellion (Lies)
Encore Break
Queen Bitch [with David Bowie]
Wake Up [with David Bowie]
Wake Up
Neighborhood #2 (Laika)
No Cars Go
Headlights Look Like Diamonds
Sleeping in a Submarine
Five Years
Neighborhood #1 (Tunnels)
Neighborhood #3 (Power Out) > Rebellion (Lies)

Taper: krsb99 (gvataper@gmail.com)
Equipment: Beyerdynamic MC930--> Oade ACM Marantz PMD 660
Location: centre 50 "rows" back


1. Black Mirror

2. No Cars Go

3. Haïti

4. Poupée de Cire

5. Neighborhood #2 (Laïka)
6. (Antichrist Television Blues)
7. Intervention
8. Ocean Of Noise

9. Neighborhood #1 (Tunnels)

10. Neighborhood #3 (Power Out) -> Rebellion (Lies)
11. Keep The Car Running

12. Wake Up (with Björk's brass band)
FM>Cass>???>CDR>EAC>FLAC 6 (w/sector align)

1. Outhouse
2. Bake´ 
3. Main Man
4. Little Song
5. If you look far enough
6. Gardsjenta

Arild Andersen     b
John Abercrombie   g
Pierre Favre       dr

Lester Bowie,tp 
Roscoe Mitchell,reeds 
Joseph Jarman,reeds 
Malachi Favors,b 
Famadou Don Moye,dr	

CD1: 41:50
1 Titel 41:50

CD2: 59:35
2 Titel 52:18 
3 Titel 3:46 
4 Titel 3:32

Lineage: audience > cdr on trade > flac > dime

Sound Rating: Audience A/A-
Source:  HEBs (DPA 4061s) > CS batt box > Edirol R-09 (line in, 24/44.1)
Lineage:  Wav file > Sound Studio > 16/44.1 >  xACT > FLAC (level 8)

Taping location:  Thirteenth row, in line with left speaker stack
Taped & transferred by:  TT

Asia lineup:

John Wetton:  Bass, vocals
Steve Howe:  Guitar, vocals
Geoff Downes:  Keyboards, vocals
Carl Palmer:  Drums

DISC 1: 
Intro music
Time Again
Wildest Dreams
One Step Closer
Without You
Cutting It Fine
Steve Howe solo-Clap
Fanfare For The Common Man

The Smile Has Left Your Eyes*
Don't Cry*
In The Court Of The Crimson King
Here Comes The Feeling
Video Killed The Radio Star
The Heat Goes On / Carl Palmer drum solo
Only Time Will Tell
Sole Survivor
Ride Easy*
Heat Of The Moment

(*)performed acoustically

Intended for free distribution and trade only!! 
The Four Original Members of Asia

Source: SP-CMC-8 (AT943 cardioids) > SP-SPSB-10 > Edirol R-09 (line in, 24/48)
Lineage: Wav file > Sound Studio > convert 16/44.1 > xACT > FLAC (level 8)
Taping location: Row 10, 2 seats off center
Taped & transferred by: TT

Asia lineup:

John Wetton:  Bass, vocals
Steve Howe:  Guitar, vocals
Geoff Downes:  Keyboards, vocals
Carl Palmer:  Drums

DISC 1:  54:56

01 Intro
02 Sole Survivor
03 Wildest Dreams
04 Roundabout
05 Time Again
06 Steve Howe solo: Intersection Blues
07 The Smile Has Left Your Eyes
08 Ride Easy
09 Fanfare For The Common Man
10 Without You

DISC 2:  44:33

01 In The Court Of The Crimson King
02 Here Comes The Feeling
03 Video Killed The Radio Star
04 The Heat Goes On > Carl Palmer drum solo
05 Only Time Will Tell
06 Don't Cry
07 Heat Of The Moment

Source : EX+ quality 1st gen. FM tape 

Lineage : traded 1st gen. Maxell XLII cassette tape  ->  Nakamichi Dragon dolby off for playback -> Pioneer PDR 609 stand alone CD burner  -> EAC -> Goldwave for tracks -> Flac Frontend ->  FLAC level 8 align on sector boundaries.

01.Sky High (5:23) 
02.Back up against the wall (5:17) 
03.Truckin' in my blood (4:12)
04.Angel (6:20) 
05.? (4:08)
06.So into you (6:52) 
07.Another man's woman (22:22)
08.Mixed emotions (3:50)

Total time 0:58:24  

Seeded by finkployd49

Love Your Life
Same Feeling, Different Song
A Love Of Your Own
McEwan's Export
Your Love Is A Miracle
She's A Dream
If I Ever Lose This Heaven
Pick Up The Pieces

Alan Gorrie - Guitar, Vocals,
Hamish Stuart - Bass, Vocals
Onnie McIntyre - Rhythm Guitar, Vocals
Roger Ball - Keyboards, Alto Sax
Malcolm Duncan - Tenor and Soprano Sax
Steve Ferrone - Drums, Percussion
01. Steve Reich: Music for Mallet Instruments, Voices, and Organ
02. Michael Gordon: Love Bead
03. Announcer
04. Lou Harrison: Concerto for Organ and Percussion. I
05. Lou Harrison: Concerto for Organ and Percussion. II
06. Lou Harrison: Concerto for Organ and Percussion. III
07. Lou Harrison: Concerto for Organ and Percussion. IV
08. Announcer
09. John Adams: Scratchband
10. Announcer
11. Philip Glass: Facades
12. Frank Zappa: Dog Breath Variations - Uncle Meat
13. Frank Zappa: Get Whitey
14. Frank Zappa: G Spot Tornado
15. Frank Zappa: Moggio

Ensemble Modern
John Adams, cond.
Hermann Kretzschmar, organ

Track 01: Teac FM Tuner > TDK SA (?) > Aiwa Cassette Deck > Dolby NR > Pioneer CD Recorder > CD-R > EAC > wav > FLAC level 6
Tracks 02 - 15: FM Tuner > cassette > Line-in > Audiograbber > Wav > FLAC
This is my Wiki for Booting the System, my collection of unofficial live recordings.

Everything Merges with the Night
Burning Airlines Give You So Much More

Brian Eno: Music for Airports 
When we first heard Music for Airports in the late seventies/early eighties it was like a door cracking open. This record-long piece was mesmerizing, dreamy, intense and meant to be played in or thought of as fitting into a specific environment. It was a redefinition of how we relate to music in our everyday lives. Brian Eno was exploring the question of where music could go. Could its home lie somewhere outside of the muzak of elevators and dentists' offices and outside of the concert hall as well? Could it exist somewhere in between? Eno was essentially defining Ambient music. Twenty years ago there were no Ambient departments in record stores. There were no New Age or techno sections, no chill rooms. Music for Airports kicked off a whole web of musics that hadn't existed previously. But the unique factor about Eno's work was that although it could and can exist in the background of everyday life it is music that carries a potency and integrity that goes far beyond the incidental. It's music that is carefully, beautifully, brilliantly constructed and its compositional techniques rival the most intricate of symphonies. What Eno didn't imagine was that his piece would be realized with live musicians. In his analog studio, methodically stringing out bits of tape and looping them over themselves, he hadn't anticipated that a new generation of musicians would take his music out of the studio and perform it on live instruments in a public forum. Over at Bang on a Can we have always searched for the redefinition of music, exploring the boundaries outside of what is expected. This recording represents a further step in this exploration. After 20 years where does this landmark piece fit into our ever expanding definition? The effect has only begun. The Music for Airports revolution is just beginning to unfold. The live realization of Music for Airports stays close to the source. To the core group of the Bang on a Can All-Stars we've added voices, brass, winds and pipa, filling out the orchestra of sound that emerged in our minds from Eno's original synthesized recording. We have had the great pleasure of sharing the project plans with Brian Eno along the way. We are indebted to him for giving us the experience of getting inside and out of this monumental work. - Michael Gordon, David Lang, Julia Wolfe 
source : assistive Listening Device
taper : benchboy 
transfer  : markp

Hollywood Bowl Orchestra (Edwin Outwater conductor)
Cheap Trick
Ian Bell (Gomez)
Joan Osborne
Aimee Mann
Rob Laufer
Al Jourgensen (Ministry)
Sin Quirin (Ministry)
Richard Lloyd

Disc One:
01 Star Spangle Banner (Orchestra)
02 Medley (Orchestra) 
03 cheap trick intro
04 Magical Mystery Tour (Cheap Trick)
05 conductor banter 
06 intro of ian bell
07 Strawberry Fields Forever (Ian Bell) 
08 intro of joan osbourne
09 Lady Madonna (Joan Osborne)
10 The Long and Winding Road (Joan Osborne)
11 intro of rob laufer
12 Norwegian Wood (Rob Laufer)
13 intro of aimee mann
14 Blackbird (Aimee Mann) 
15 Eleanor Rigby (orchestra) 
16 intro of cheap trick
17 intro of al jourgensen & sin quirin
18 I Want You (She's So Heavy) (Al Jourgensen)
19 Golden Slumbers/Carry That Weight/End (Cheap Trick)

Disc Two:
01 Sgt. Pepper's Lonely Hearts Club Band (Cheap Trick)
02 With a Little Help from My Friends (Cheap Trick)
03 Lucy in the Sky with Diamonds (Joan Osborne)
04 Getting Better (Cheap Trick)
05 Fixing a Hole (Aimee Mann)
06 She's Leaving Home  (Cheap Trick)
07 Being for the Benefit of Mr. Kite! (Ian Bell)
08 Within You Without You (Rob Laufer) 
09 When I'm Sixty-Four (Cheap Trick)
10 Lovely Rita (Aimee Mann) 
11 Good Morning Good Morning (Cheap Trick)
12 Sgt. Pepper's Lonely Hearts Club Band (Reprise) (Cheap Trick)
13 A Day in the Life (Cheap Trick)
14 crowd
15 All You Need Is Love (Cheap Trick)
BEN FOLDS, voc, p, b; 

can't say much about this recording except that it is NOT the online stream but the real thing. the show was professionally edited, 'gone' is gone (hah!), along with some banter and chat from ben. enjoy!

01 in between days
02 there's always someone cooler than you
03 jesusland
04 bastard
05 still fighting it
06 all u can eat
07 you to thank
08 landed
09 prison food
10 bitches ain't shit
11 zak and sara
12 brick
13 fred jones part two
14 one down
15 the luckiest
16 army
17 trusted
18 carrying cathy
19 rockin' the suburbs
20 late
21 philosophy
22 emaline
23 not the same
24 one angry dwarf and 200 solemn faces
Sunny's Song
My Pet Goat
Best Reason To Buy The Sun >
Welcome Red
The Beltless Buckler (Gabba La La)
Mike's Song
Spider Monkey
Tom the Model
Autumn Leaves
Funny Time of the Year
Candy Says
Spider Monkey
Tom the Model
Sand River
Funny Time of Year
Candy Says
|Created by|SaqImtiaz|
|Version|0.5 beta|
A replacement for the core timeline macro that offers more features:
*list tiddlers with only specfic tag
*exclude tiddlers with a particular tag
*limit entries to any number of days, for example one week
*specify a start date for the timeline, only tiddlers after that date will be listed.

Copy the contents of this tiddler to your TW, tag with systemConfig, save and reload your TW.
Edit the ViewTemplate to add the fullscreen command to the toolbar.

{{{<<timeline better:true>>}}}
''the param better:true enables the advanced features, without it you will get the old timeline behaviour.''

additonal params:
(use only the ones you want)
{{{<<timeline better:true  onlyTag:Tag1 excludeTag:Tag2 sortBy:modified/created firstDay:YYYYMMDD maxDays:7 maxEntries:30>>}}}

''explanation of syntax:''
onlyTag: only tiddlers with this tag will be listed. Default is to list all tiddlers.
excludeTag: tiddlers with this tag will not be listed.
sortBy: sort tiddlers by date modified or date created. Possible values are modified or created.
firstDay: useful for starting timeline from a specific date. Example: 20060701 for 1st of July, 2006
maxDays: limits timeline to include only tiddlers from the specified number of days. If you use a value of 7 for example, only tiddlers from the last 7 days will be listed.
maxEntries: limit the total number of entries in the timeline.

*28-07-06: ver 0.5 beta, first release

// Return the tiddlers as a sorted array
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//this function by Udo
function getParam(params, name, defaultValue)
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window.old_timeline_handler= config.macros.timeline.handler;
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Soul for Every Cowboy
Kensington Line
Dinner with Ivan
Turn the Light Out
Secret Mission
Ellis Island
It's Alright
Please Don't Tell Her
Runaway Train
Resignation Superman
Again and Again
City on Fire
Sister Sweetly
Vincent of Jersey > The Leaving Song
Crazy Mary
Freedom Fighter
Broken Hearted Savior
Disc 1

Beautiful World
Dirty Juice
Crazy Mary
Secret Mission
Lets Get it on*/ Sister Sweetly
Moose Song
Friend of the Devil%
Peacemakers Blues/ Broken Hearted Savior

Disc 2
Geography of a Horse Dreamer
Vincent of Jersey/ The Leaving Song
Come On Come On
Love Transmission
In the Morning
Resignation Superman
crowd before encore
Monument in Green
01 - Hells Bells
02 - One Of A Kind
03 - Sample And Hold
04 - Feels Good To Me
05 - Beelzebub
06 - The Sahara Of Snow
07 - Forever Until Sunday
08 - Back To The Beginning
09 - Goodbye To The Past
10 - Five G

Allan Holdsworth-guitar, Jeff Berlin-bass, Bill Bruford-Drums, Dave Stewart-keys
Hell's Bells
Sample And Hold
Fainting In Coils
Forever Until Sunday
One Of A Kind Part 1
One Of A Kind Part 2
Travels With Myself, And Someone Else
The Sahara Of Snow Part 1
The Sahara Of Snow Part 2

Disc I:
01. Hell's Bells
02. Joe Frazier
03. Land's End
04. The Sliding Floor
05. Drum Solo > Gothic 17
06. Fainting in Coils (w/ Back to the Beginning)

Disc II:
01. Palewell Park
02. Plans for JD
03. Age of Information
04. Five G
05. Beelzebub
06. Gimme Some Lovin' > Sunshine of Your Love

Bruford is:
Bill Bruford - drums
Dave Stewart - keyboards
Jeff Berlin - bass
John Clark - guitar
Lineage: FM > ? > CDR > EAC > wav > CDR (mine) > EAC > wav > dBpowerAMP > flac (L7)

unknown venue, Chicago, IL

1. Thud 
2. Ikebana
3. Pressure 
4. Up North 
5. Improvisation 
6. It Needn't End In Tears 
7. Emotional Shirt

Studententsenteret, Bergen, Norway 

8. Band Introduction
9. It Needn't End In Tears
10. Bridge Of Inhibition

Bill Bruford - drums & percussion
Django Bates - keyboards, horn, trumpet
Mick Hutton - bass
Iain Ballamy - saxophones
No Truce with the Furies
If Summer Had Its Ghosts
Some Shiver, While He Cavorts
A Part, and Yet Apart
Footloose and Fancy Free
Dewey Eyed, Then Dancing
Original Sin
 FM>tape>CDR(Philips CDR 570)>wave(EAC)>flacf(8)

 I saw this really great show in Cologne and I was very happy,that
 the complete show was broadcasted next monday at the german 
 radio station WDR 1.First 80 min complete,for the encores I 
 had to change the tape so track 10 fades in and track 12 fades out.
 Bill Bruford was very nice and friendly this night and after 
 the show he came to the bar and answered all questions from the 
 audience.I had the luck and sit direct to BB and had a 20 min 
 conversation with him about his work and for sure about
 King Crimson.

 Earthworks :
 Tim Garland: Tenor and soprano saxophones, flute, bass clarinet. 
 Steve Hamilton: Piano 
 Mark Hodgson: Bass 
 Bill Bruford: Drums, log drum. 

 Setlist: I`m not 100% sure with the name of the songs,any help 
 is more than welcome,thanks booomboom.

 CD 1 : 

 01 Revel without a pause       11:29
 02.Triplicity                  10:10
 03.Hale Life                   08:57
 04.Come to dust                08:21
 05.Modern Folk                 07:18
 06.Where sleep may saftly rain 05:31
 07.Footloose and fancy free    09:04
 08.The wooden man sings and the stone lady dances   09:34
 09.Bridges of Inhibition       09:30

 CD 2 :

 01.Teaching Vera to dance      05:15
 02.Never the same way once     05:31
Recorded by anonymous (SONY MDR55 minidisc)
Mastered by TheTooleMan, July 2002

An EXCELLENT recording made in a small jazz club in North London. The taper was kind enough to 
ask me to master his recording, which I did in July 2002. Very little improvement was needed 
other than boosting the high and low frequencies for a little more presence, raising the levels 
of some of Bill Bruford's comments to the audience, reducing the audio level of clapping, and 

I have never circulated this recording, and as far as I know, neither as the taper. But that's all 
going to change now, and well it should, as it deserves to be heard. 

July 2007


Bill Bruford: drums, percussion
Tim Garland: saxophone, bass clarinet
Steve Hamilton: piano
Mark Hodgson: bass

Tracks, Disk 1

Bill Bruford's Comments #1
Bajo del Sol
Tim Garland's Comments
Modern Folk
Bill Bruford's Comments #2
The Wooden Man Sings, and the Stone Woman Dances

Tracks, Disk 2

Come to Dust
Bill Bruford's Comments #3
Blues for Little Joe
Bill Bruford's Comments #4
Bridge of Inhibition

)*Help with track titles will be appreciated.
Set I
Piano/Sax Intro
Revel Without a Pause
Bajo del Sol (intro)
Bajo del Sol
Turn and Return
Come to Dust
Seems Like a Lifetime Ago
One of a Kind
The Wooden Man Sings, and the Stone Woman Dances
Footloose and Fancy Free
Bill Bruford: drums
Tim Garland: sax
Steve Hamilton: piano
Mark Hodgson: Bass
Source: Audience Sony WM-D3 (XL-IIS) + Core Sound stealth cards > Soundblaster Live > Soundforge 4.0 > shntool > dbPowerAmp > FLAC

Early show + 45 minutes of late show

Bill Bruford: Drums
Tim Garland: Sax
Henry Hey: Piano
Mike Pope: Bass

Sound: B
Show: A
Mr. Memory
Blues for LA
Keep Your Eyes Open
Rain, Rain
Lookout for Hope
Egg Radio

Big Shoe
Poem for Eva
Lookout for Hope #2
Keep Your Eyes Open #2
My Buffalo Girl

Cadillac 1959
That Was Then
The Pioneers
Poem for Eva #2
Mr. Memory #2
Big Shoe #2 
from WOWOW Jazz File TV broadcast. Excellent quality.
The Stranger
Somewhere Along The Line
Summer, Highland Falls
Piano Man
Scenes From An Italian Restaurant
Travelin' Prayer
Movin' Out
Still Crazy After All These Years
Just The Way You Are
Prelude / Angry Young Man
New York State Of Mind
The Entertainer
Root Beer Rag
She's Always A Woman
I've Loved These Days
Miami 2017 (Seen The Lights Go Out On Broadway)
The Ballad Of Billy The Kid
Have Yourself A Merry Little Christmas
Captain Jack
Say Goodbye To Hollywood
Only The Good Die Young
Get It Right The First Time

WLIR Pre-FM #14
Master Audiance Recording

CSB -> Sony MZR30 MiniDisc -> M-Audio 24-bits Soundcard into WaveLab (Low Shelf @35Hz, slight compression with Waves C1)
-> .wav -> .flac

1. Earth Intruders
2. Hunter
3. Pagan Poetry
4. Immature
5. Jóga
6. The Pleasure Is All Mine
7. Unravel
8. Army Of Me
9. Innocence
10. I Miss You
11. Anchor Song
12. Bachelorette
13. Five Years
14. Wanderlust
15. Hyperballad
16. Plútó
17. Encore Break & Band Introduction
18. Oceania
19. Declare Independence 

Tomorrow's Dream
Sweet Leaf
Killing Yourself To Live
War Pigs
Sabbra Cadabra
Supernaut Part 1 (Improvisation)
Supernaut Part II(Bill Ward's Drum Solo)
Supernaut Part 3
Iron Man
Guitar Solo(w/Orchid, Sabbra Cadabra[reprise])
Embryo/Children Of The Grave
Chase The Dragon CTD 005, a/k/a/ "Cannibas Confusion" aka Bagdad  (GR032)

California Jam: http://en.wikipedia.org/wiki/California_Jam
1. "DJ Into" (1:12)
2. "Black Sabbath intro" (2:20)
3. Children on the Grave" (5:05)
4. "Hot Line" (5:01)
5. "War Pigs" (7:30)
6. "Iron Man" (8:59)
7. "Zero the Hero" (7:46)
8. "Heaven and Hell" (8:42)
9. "guitar solo" (8:42)
10. "Digital Bitch" (3:51)
11. "Black Sabbath" (7:52)
12. "Smoke on the Water" (5:18)
13. "Paranoid" (3:51)

This bootleg was taken from "Captured Live", a US radio promo, so the sound is excellent for a bootleg. Classic recording of Sabbath featuring a smokin' version of "Smoke on the Water", a song many Sabbath die-hards felt was blasphemy for Sabbath to be playing. Gillan sounds a bit strained on a few songs here, especially on "Heaven and Hell". However, when he goes into those high, falsetto screams, he sounds fantastic! The line-up for this tour was Tony Iommi (guitar), Geezer Butler (bass), Ian Gillan (vocals), Bev Bevan (drums) and Geoff Nicholls (keyboards).
Transfer: CD-R from trade > EAC > FLAC Level 8 > you 

1 Blackfield
2 Open Mind
3 The Hole In Me
4 Glow
5 Pain
6 Lullaby
7 Epidemic
8 Waiting
9 Summer
10 Where Is My love?
11 Cloudy Now
12 Scars
13 Hello
14 Feel So Low
15 Blackfield (again)
=79 min of pure luck!!
Open Mind
The Hole In Me
Cloudy Now
Miss U
The Hole In Me
1,000 People
Thank U (Alanis Morissette)
Some Day
Set II
Open Mind
My Gift Of Silence
Where Is My Love
End Of The World
Cloudy Now

Source - Sony minidisc MZ-R55 with a Sony Microphone ECM-939 LT - PC - cdr - eac - flac (level 8)

01. Blackfield
02. Open Mind
03. Hole In Me
04. Glow
05. Pain
06. Lullaby
07. Summer
08. Where Is My Love ?
09. Cloudy Now
10. Scars
11. Hello
12. Feel So Low


Steven Wilson - vocals, guitars, additional keyboards
Aviv Geffen - vocals, keyboards, additional guitars
Daniel Salomon - piano
Seffy Efrati - bass guitar
Tomer Z - drums, percussion
lineage/transfer: DAT master @ 48KHz/16bit > digital output(optical) > Edirol UA-3FX > USB 1 > Power Mac G4 > Sound It! 3.0(aiff @ 48KHz/16bit > sampling frequency down conversion to aiff @44.1KHz/16bit, track splitting) > xACT(SBE fix, flac compression level 8) > flac 

track list

01. Opening SE : Susatissimo
02. Dome Epais Le Jasmin A La Rose S'Assemble from "Lakme"(by Sister of The
03. Way to Mandalay(intro) - Cartouche
04. Queen For A Day
05. Under A Violet Moon
06. Minstrel Hall
07. Past Time with Good Company
08. Soldier of Fortune
09. - Earthquake -
10. Praetorius(Courrante)
11. Diamonds and Rust 
12. Durch Den Wald Zum Bach Haus - Violin Solo(incl. Japanese Folk Song
13. Home Again - Woman from Tokyo - Home Again(rep.)
14. Fires at Midnight
15. Nur Eine Minute
16. Hanging Tree

01. Renaissance Faire
02. Hurdy Gurdy Solo - The Clock Ticks on
03. I Still Remember

04. All for One
05. Rainbow Blues
06. Difficult to Cure - Self Portrait
07. Blues
08. The Temple of The King
09. Purple Haze
10. Since You Been Gone

11. Sixteenth Century Greensleeves
12. Piano Solo(incl. "Chopin's Revolutionary") 
13. Violin Solo "Swan Lake" - Writing on the Wall - Burn
    - Writing on the Wall(rep.)
14. The Times They are A Changin' - Mid-Winter's Night - Dandelion Wine

Txt file:

This is the 2nd show in Tokyo and the last performance in Japan in 2004 tour. The band experienced a big typhoon in Nagoya in fact, then an earthquakes during the show on the last night in Tokyo(you'll hear it in track 09 of disc-1).  The carried on after a few minutes of break while staff checking gears.  As you may see from the setlist, Blackmore finished acoustic set earlier, then did lots of rock stuff, which was quite nice surprise!  I was in about tenth row, facing right PA speaker, so the sound quality of my DAT master is quite listenable, guys right next to me were a little too noisy, though(they are not to blame, of course).

Sound: B
Don't Tell Me
What's Your Problem?
That's Love That It Is
Don't You Love It All?
Why Don't They Leave Things Alone?
God's Kitchen
Lose Your Love
Paradise Is
Other Animals
Game Above My Head
Living On The Ceiling
I've Seen The Word
Blind Vision
source 2:  mbho 603a/ka500hn (hypercardioid) > edirol r4 (24/96) (sleepypedro and the_meekster)
soundforge 8.0 (dither, resample, tracking, fades) > shntool > flac

So Here We Are
Positive Tension
Blue Light
She's Hearing Voices
This Modern Love
Two More Years
Like Eating Glass
Little Thoughts
Party in the Park II

1. [02.18] ?
2. [03.12] She's Got a Big Boyfriend
3. [03.58] Scream
4. [02.43] Gimme the Girl
5. [03.05] We Are the Now-Tones
6. [04.28] I Wanna Be a Lifeguard

Sound: A
Show: A

SOURCE: Aux SBD mix + Nak 300 CP3 (0mnis) > Mackie 1404 Mixer > DA-P1. Mics hung over stage and ran into snake to SBD and out to Mackie. 

LINEAGE: DAT > DAT via 1 analog cable generation for computer remastering by Brad Sarno. DAT > Audiophile 24/96 > Wavelab 5 (fades, resample) > CD Wave (Track) > Flac Frontend.

TAPED BY:  Steve Brothers & Brad Sarno
TRANSFERRED BY: Steve Brothers


Disk 1 (1st Set - part 1) (50:04)

01: 5 & Dime			05:30
02: Log Jam	 		06:01
03: Nao				07:24
04: Dev's Sidestep		07:13
05: Half The Time		03:47
06: Mississippi Jack		09:11
07: Sleeping Beauty		06:09
08: Dead Flowers		04:46

Disk 2 (1st Set - part 2 + 2nd Set - part 1) (30:17)

01: Get On The Road		12:27		
02: Cripple Creek		05:23
03: Playin' With Fire		07:11
04: Kid Charlemagne		05:14
05: Good Lovin'			08:01
06: Wishing Stone		08:43
07: Late In The Evening		04:27
08: Come A Stranger		06:45
09: Walk Awhile			06:12
10: She Said, She Said		04:02

Disk 3 (2nd Set - part 2)

06: Werewolves Of London > 	08:12
07: Welcome Back My Friend	17:17
08: Nothing But Flowers		13:32
09: Blue Line			13:03
10: Love Light			12:32

11: Whisper In The Night	07:28
12: Let It Bleed		05:43
Allen Woody - guitar, bass & vocals
Matt Abts - drums
Marc Ford - guitar & vocals
Johnny Neel - keyboards, harmonica & vocals
Berry Oakley - bass, percussion & vocals

Source:  AKG 461 > Lunatec V2 > SBM-1

Set 1:
Disc 1:
01. Sheep
02. Hey You
03. Fearless
04. In The Flesh
05. Cymbaline
06. Breathe >
07. Us And Them >
08. Any Colour You Like >
    Use Me >
    Any Colour You Like

Disc 2:
01 Young Lust >
   Another Brick In The Wall Pt. 2
Set 2:
02. HAL >
    Echoes >
    The Trial* >
03. Echoes
04. Drums >
05. Bass/Drums >
    Mountain Jam >
06. Set The Controls For The Heart Of The Sun >
07. Interstellar Overdrive >
08. Wish You Were Here >

Disc 3:
01. Shine On You Crazy Diamond >
    Loan Me A Dime >
    Shine On You Crazy Diamond
02. Have A Cigar
Set 3:
03. Apocalypse Now intro >
04. Whiter Shade Of Pale
05. Seamus
06. Odds and Ends
07. Red House >
    How Blue Can You Get

Disc 4:
01. Money** >
    Fever** >
    Baby Please Don't Go** >
02. Crossroads*** >
03. Spoonful** >
04. Another Brick In The Wall**

(* w/ Brian Farmer on vocals
(** w/ Warren Haynes on guitar
(*** w/ Warren on guitar & vocals

Downloaded from Furthurnet ?2000? SHN > WAV > archive CDR
CD > EAC > WAV > FLAC (Level 6 verified) by robemichel on 05/25/2006
questions/comments: robemichel@yahoo.com

The Red & The Black, Transmaniacon Mc, Screams, O.D'd On Life Itself, Wings Wetted Down, 7 Screaming Diz-Busters, Buck's Boogie, Workshop Of The Telescopes, Cities On Flame With Rock & Roll, It's Not Easy
Soundboard>?(some editing)>CDR(trade)>Flac7>Free to Trade

1. Dominance and Submission
2. Astronomy
3. ME262
4. Stairway To the Stars
5. Transmaniacon M.C.
6. Born To Be Wild
7. Buck's Boogie

Soundboard of Blue Oyster Cult's New Year's Eve show 
(Iggy & the Stooges and Kiss opened for B.O.C.)
It's a great bootleg!
Lineage: CD-R (trade)>WAV>FLAC Level 8>Free to Trade

Disc One
1. Intro...
2. The Red and the black
3. O.D'd On Life (Life Itself)
4. Career of Evil
5. Harvester of Eyes
6. Dominance and Submission
7. Astronomy
8. Flaming Telepaths

Disc Two
1. Buck's Boogie
2. Cities on Flame
3. ME262
4. Hot Rails to Hell
5. I Ain't Got You

from TokeMaster Chris
First seeded July 2006 on dime
intro tape
Stairway to the Stars
Harvester of Eyes
Cities on Flame with Rock and Roll
Morning Final
Flaming Telepaths
Then Came the Last Days of May
Dominance and Submission

Buck's Boogie
This Ain't the Summer of Love
5 Guitars
Born to Be Wild
(Don't Fear) The Reaper

For hard-core collectors only. ME-262 is incomplete, and the recording of D&S is botched. This also includes a very gratuitous drum solo.
R.U.Ready To Rock
Cities On Flame
Hot Rails To Hell
This Ain't The Summer of Love
Born To be Wild
Don't Fear The Reaper
Early Show*

Stairway to the Stars
Your Not The One
The Great Sun Jester
Cities on Flame
Maserati GT(I ain't got you)
The Last Days of May
ME 262
Dr. Music
Hot Rails to Hell
Born To Be Wild
Arthur Comics Blues Jam (Band just riffing around the Arthur Comics Song)
Harvester of Eyes
Dominance and Submission

Second Encore Missing**


Flac's cut on sector boundries

Notes about this show:

We believe this is the earlier of two shows that night at the Old Waldorf. The announcer is the same as the announcer on the known second set with slightly different wording. The track listing for the later set is also somewhat different.

There is a glitch in Maserati GT in the middle of the song where the recorder accidently stopped.

According to the taper (Harry Lime):

"I just spoke to my brother who was with me that night. It is possible that
there were two shows that night. He recalled it being light out when we  were waiting in line.
 I am positive of the date since I wrote it on the tape label that night .
 Back in those days the Old Waldorf often had and early and a late show. 
BTW, I think there was a 2nd encore that night, but I put it on another 
 tape that i have been unable to find for years. "

from LLD_139 (different source?):
Soft White Underbelly a.k.a. Blue Oyster Cult
March 17, 1979  
Old Waldorf  San Francisco, California 
Early Show

Eric Bloom - vocals, guitar and percussion
Albert Bouchard - drums, vocals and percussion
Donald "Buck Dharma" Roeser - guitar and vocals
Joe Bouchard - bass and vocals
Allen Lanier - keyboards, vocals
               and guitar

Recorded 3 months before the release of Mirrors,
one can only speculate the boys wanted to try out
the new material. A couple of Irish-American kids
on St. Patrick's Day, set out to see their favorite
Rock group. I thought this would be an appropriate
theme for this bootleg. I hope you enjoy it as much
as I have.

 Due to limitations of the tape,
Astronomy and The Reaper were compromised.

1. Crowd/Intro Music (3:51)
2. Intro/Stairway To The Stars (4:30)
3. E.T.I. (Extra Terrestrial Intelligence) (6:22)
4. You're Not The One (I Was Looking For) (4:00)
5. The Great Sun Jester (5:43)
6. Cities On Flame With Rock And Roll (4:54)
7. Maserati GT (I Ain't Got You) (10:49)
8. Gun (6:13)
9. Astronomy (9/11) *

1. ME 262 (4:18)
2. Dr. Music (3:09)
3. Hot Rails To Hell (6:57)
4. Godzilla (6:33)
5. Born To Be Wild (6:53)
6. Harvester Of Eyes (4:31)
7. (Don't Fear) The Reaper (4:48) *





1:  DJ Intro/Dominance and Submission
2:  Dr. Music
3:  Mirrors
4:  Cities on Flame
5:  The great sun jester
6:  The Vigil
7:  ETI


1:  Astronomy
2:  ME262
3:  Godzilla/Drum Solo
4:  Hot rails to Hell
5:  Bass Solo/5 Guitar Jam
6:  Born to be Wild
7:  OD on life itself
8:  Don't fear the reaper
Dominance & Submission
Dr. Music
Cities On Flame With Rock 'N Roll
The Great Sun Jester
Buck's Boogie
The Vigil

ME 262
Hot Rails To Hell
Bass Solo
5 Guitars
Born To Be Wild

The recording is a bit dated, but the stereo separation is fantastic, and the performance is great (esp. BB). Astronomy features a different solo than usually played. We'll even forgive the electric tom toms in Dr. Music. Listen for the motorcycle Eric rides onto stage at the beginning of BTBW.
Dr. Music
Lips in the Hills
Unknown Tongue
Cities on Flame
The Marshall Plan
Hungry Boys
Divine Wind
Hot Rails to Hell

Black Blade
Bass Solo
Five Guitars
Born to Be Wild
Don't Fear the Reaper (incomplete)

Mastered a bit too high & fast. Likely a SBD or Pre-FM
Dr. Music
Lips in the Hills
Unknown Tongue
Cities on Flame
The Marshall Plan
Divine Wind
Last Days of May
It's Not Easy

Black Blade
Five Guitars
Born to Be Wild
Arthur Comics
Roadhouse Blues
Don't Fear the Reaper

Performing as Soft White Underbelly
Dr. Music
Burnin' for You
Fire of Unknown Origin
Cities on Flame
Joan Crawford
Flaming Telepaths
Veteran of the Psychic Wars
Hot Rails to Hell

Heavy Metal
Don't Fear the Reaper
Born to Be Wild
Five Guitars
Roadhouse Blues
Dr. Music
Burnin' for You
Fire of Unknown Origin
Cities on Flame
Joan Crawford
Flaming Telepaths
Veteran of the Psychic Wars

Hot Rails to Hell
Born to Be Wild
Heavy Metal
Don't Fear the Reaper
Roadhouse Blues

Quite simply one of my favorite concerts of all time.
Dr. Music
Hot Rails to Hell
Cities on Flame
Joan Crawford
Burnin' for You
Seven Screaming Diz-Busters

Veteran of the Psychic Wars
bass solo
Born to Be Wild
(Don't Fear) The Reaper
Roadhouse Blues
Audience recording (I rate it 7/10 cause of the noisy audience. Sometimes it's amusing. But believe me, it's a very enjoyable concert! It's Worth donloading
for some very rarely performed tracks.

Lineage: CDs got in a trade, converted directly to FLAC using DBpowerAMP (4° grade compression)


Cities on flame
Before the kiss
Hot rails to hell
Take me away
Shadow on California ("Where's my wallet";-))
Joan Crawford
Shooting Shark
Born to rock


(Don't fear) The reaper
Bass solo
Feel the Thunder
Born to be Wild
Let go
Burning for you
Roadhouse blues

Eric Bloom
Donald "Buck Dharma" Roeser
Allen Lanier
Joe Bouchard
Rick Downey

Amazing concert. 5 songs from "The Revolution by night". 
Shadow on California and Feel the thunder the real gems of the show.


FLAC > dbpoweramp > WAV > CD Audio > DBpoweramp > FLAC files

Audience recording, very good (9/10). 

Only the first half of R.U. Ready to rock has few high frequences, and at the end of the show Cities on flame and Roadhouse Blues has the same problem, a prove that the original was a tape:-)


R.U. Ready 2 Rock
Dominance and submission
White Flags
Take me away
Veteran of the psychic wars
Dancing in the ruins


Joan Crawford
Shadow warrior
Burning for you
(Don't fear) The Reaper
Cities on flame
Roadhouse blues

Eric Bloom
Donald (Buck Dharma) Roeser
Joe Bouchard
Tommy Zvoncheck
Jimmy Wilcox

BOC are on top of the form here! The only italian concert in their history!
Fantastic one!!! A must!

Stay 'o Cult!

Before The Kiss A Redcap, Cities On Flame With Rock & Roll, Eti, Harvest Moon, Buck's Boogie, The Vigil, Live For Me, Flaming Telepaths, I'd Like To See You In Black, Then Came The Last Days Of May, In Thee, Burnin' For You, Godzilla, (Don't Fear) The Reaper, Golden Age Of Leather, Dominance & Submission
1.  R. U. Ready 2 Rock
2.  White Flags
3.  Take Me Away
4.  Dancin' In The Ruins
5.  The Shadow Warrior
6.  Burnin' For You
7.  Godzilla
8.  Wings Of Mercury
9.  (Don't Fear) The Reaper
10. Born To Be Wild
11. Let Go
12. Shooting Shark

Released in 1993 by the "International Broadcast Recordings" 
label.  Recorded at the Civic Auditorium in Santa Monica, CA on 
3/27/1986.  However, the last 3 songs on the CD are actually from a 
2/14/1984 show at the Hammersmith Odeon in London.  The California 
portion of this recording (often incorrectly referred as being from Los 
Angeles) was broadcast on "The King Biscuit Flower Hour" on 7/13/1986.  
This show was rebroadcast by King Biscuit on 8/31/1998, and sent to 
radio stations on CD (the last 3 songs were not part of the King Biscuit 
broadcast, and therefore not on this radio-only CD).  "Wings Of Mercury" 
is credited as written by Donald Roeser, Eric Bloom, and Albert 
Bouchard.  However, according to Bolle Gregmar, the song was actually 
written by Dream Syndicate (Karl Precoda), and given to BOC to use (both 
Dream Syndicate and BOC were managed by Sandy Pearlman, and Tommy 
Zvoncheck plays keyboards on at least one Dream Syndicate album).  It 
was planned to be played by BOC on the Hear 'n Aid project (a heavy-
metal album project organized by Ronnie James Dio to raise money for the 
hungry -- the album featured a group of stars singing one song, plus a 
number of tracks by some of the artists), but was not used.  "Wings Of 
Mercury" was actually played as the first encore of the Santa Monica 
show, but was inserted in-between "Godzilla" and "(Don't Fear) The 
Reaper" for the radio broadcast.  The recording of "Born To Be Wild" 
appears to have been edited to remove the "Texas Chainsaw guitar duel".  
The second verse of "Shooting Shark" is not on the recording -- either 
the band did not perform the second verse, or it was edited out of the 
mix.  The name of this release no doubt comes from the Celtic Frost song 
of the same name.  
01	RUReady 2 Rock
02	Dominance & Submission
03	ETI
04	Buck's Boogie
05	Beat 'em Up
06	Take Me Away
07	Veteran of Psychic Wars (cut)
08	Dancin' in the Ruins (fades in)
09	TZ's Piano Improvisation
10	Joan Crawford
11	Shadow Warrior
12	Burnin' For You
13	Godzilla
14	(Don't Fear) The Reaper
R.U. Ready 2 Rock
Dominance and submission
I am the one you warned me of
Buck's boogie
Take me away

In the presence of another world
Flaming Telepaths
Cities on flame
Joan Crawford
Burnin' for you
This ain't the summer of love
Golden age of leather

R.U. Ready 2 Rock
Dominance and submission
I am the one you warned me of
Buck's boogie
Take me away


In the presence of another world
Flaming Telepaths
Cities on flame
Joan Crawford
Burnin' for you
Godzilla (Drum solo)
(Don't fear) The Reaper

This ain't the summer of love
Golden age of leather
The red and the black
Stairway to the Stars
Dominance and Submission
Before the Kiss (A Redcap)
Buck's Boogie
Take Me Away
Cities on Flame
Career of Evil

Unknown Tongue
Burnin' for You
Don't Fear the Reaper
This Ain't the Summer of Love
The Red and the Black
CD >> DBpoweramp > FLAC (4 compression)
Audience recordiong: Very good (9/10)


Stairway to the stars
Dominance and submission
Before the kiss
Demon's kiss
Power underneath despair
Take me away
Cities n flame
When the Horsemen Arrive


Still Burnin'
Harvest Moon
Burning for you
(Don't fear) The Reaper
Cold grey light of dawn
The Red and the black

Great concert! Many new songs played. 
"Demon's kiss" and "When the horsemen arrive" are absolutely classics!
A great mistake has been wasting them for a B-movie soundtrack as Bad Channels.

"Power underneath despair", "Still Burning", "Harvest moon" and "Cold grey light of dawn" are the announced new tracks
for the upcoming new CD. But we had to wait another 6 years to hear them in "Heaven Forbid" in 1998.

Stay 'o Cult!

samples below

Well, as we found out through the unfortunate banning of the original torrent,
this is a "band recorded" Soundboard recording, as opposed to a fan or sound-guy
An amazing show and recording. Sounds like the band is having fun.


Stairway to the Stars
Dr. Music
Dominance and Submission
Before the Kiss (A Redcap)
Demon's Kiss
Teen Archer
Joan Crawford
Cities on Flame
Still Burning
I Love the Night

This Ain't the Summer of Love
Harvest Moon
Burnin' for You
(Don't Fear) The Reaper
Golden Age of Leather
The Red and the Black



4:  ETI



Recorded using a Sony D8 and core sound binaural mics.
Stairway to the stars
Dr. Music
Od'd on life itself
Harvest moon
Before the kiss
See you in black
Joan Crawford
Flaming telepaths
Cities on flame

In thee
Lips in the hill
Burnin for you
(Don't fear) the Reaper
Dominance and submission
The Red and the Black

Eric Bloom
Donald "Buck Dharma" Roeser
Allen Lanier
Danny Miranda
Chuck Burgi
CD got in a trade

CD > dbpoweramp > FLAC(4) Files

Audience recording very clear. A little cold, audience very low.

This is the official Heaven Forbid tour! At last the "upcoming" record has been realised!!


Before the kiss
Cities on flame
Harvest Moon
Buck's Boogie
Od'd on life itself
The Vigil
Live for me
Flaming Telepaths

See  you in black
Last Days of may
In Thee
Burning for you
(Don't Fear)The Reaper
Golden age of leather
Dominance and submission

NOt one of my favourite. Eric's vocals isn't in good shape. And I can't imagine a BOC's show without Joan Crawford!
One of the first performance of Live for me. Interesting also for the rebirth of The Vigil, In Thee and Last days of may.
Apart from this...why the fantstic "veteran of the Psychic wars" has been played only on two tours? Fire of unknown origin's and Club Ninja's. The ETL version is absolutely amazing!! Masterpiece!

Eric Bloom
Donald "Buck Dharma" Roeser
Allen LAnier
Danny Miranda
Bobby Rondinelli


Stay 'o Cult!

Coresound Binaurals -> Sony D100 DAT -> 
Edirol UA-3 -> CDWave(tracking)
Encoded to level 8 flac using traders Little Helper

Set List:

Burnin' For You
Cities On Flame
Harvest Moon
Take Me Away
Buck's Boogie
Joan Crawford
Live For Me
Flaming Telepaths
See You In Black
In Thee
(Don't Fear)The Reaper
Lips In The Hills
The Red And The Black

Artwork Included
CD > DBpoweramp >FLAC files (4° compression)
Audience recording: Excellent 9.5/10


This ain't the summer of love
Teen Archer
Joan Crawford
Cities on flame
Golden age of Leather
Burning for you
Harvester of eyes
The Subhuman
Buck's Boogie


Take me away
The Old Gods Return
(Don't Dear) the Reaper
Dominance and submission

Eric Bloom
Donald "Buck Dharma" Roeser
Allen Lanier
Danny Miranda
Bobby Rondinelli

This concert is definetely one of my favourite! 
A killer set list. The sound is very clear and Eric's voice is in very good shape.
I think this is one of the few concert where was played "The Subhuman" (another favourite of mine) after the 1975 tour, 
and it's 2001!!!
The recording is made few months before "Curse of hidden mirrors" was realized.
"The old Gods return" is a strong track. 
I will post another couple of recent gigs where they play also "Pocket" and "Dance on stilts".
What else? Joan Crawford, Golden age of leather, HArvester of eyes, Take me away, Astronomy, Dominance and submission...
What can I ask more?;-)

Stay 'o Cult!

wav files > dbpoweramp > flac files

Broadcast recording 9.5/10

Dr. Music
This ain't the summer of love
See you in black
I love the night
Tatoo Vampire
Shooting Shark
Divine Wind
Black Blade
Guitar intro
(Don't Fear) The Reaper
Golden age of Leather


Stay 'O CUlt

Dr. Music
This Ain't The Summer Of Love
See You In Black
I Love The Night
Tattoo Vampire
Shooting Shark
Divine Wind
Black Blade
Bucks Boogie
(Don't Fear) The Reaper
Golden Age Of Leather

Westwood One Superstar Concert Series
Dr. Music
Dance on Stilts
Harvester of Eyes
Burnin' for You
Tattoo Vampire
Shooting Shark
Divine Wind
Golden Age of Leather
Cities on Flame
Don't Fear the Reaper
Dominance & Submission

Horrible. Just Horrible. D-
Disc 1 (67:34)
01 intro tape / audience      04:24
02 Dr Music                   04:03
03 Before The Kiss (A Redcap) 05:34
04 Pocket                     04:35
05 Harvester Of Eyes          04:10
06 Burnin' For You            04:50
07 Joan Crawford              06:38
08 Shooting Shark             08:34
09 Divine Wind                06:34
10 Lips in the Hills          04:57
11 I Love The Night           07:30
12 Golden Age of Leather      05:46

Disc 2 (34:28)
01 Godzilla / Bass Solo >     08:47
02 Drum Solo >                02:20
03 Godzilla                   01:50
04 Buck's Intro to ...        03:17
05 (Don't Fear) The Reaper
   audience                   11:04
06 Black Blade                07:11

Sony ECM-DS70P omni mic> Vivanco battery box pre-amp> Sony MZN710 Minidisc
recorder>  Hercules Fortissimo 2 (optical digital link) > Polderbits (editing, track marking) > CD > SHN

Set list:

Disc one:

1:  Red and the Black
2:  Teen Archer
3:  Burnin` for you
4:  Transmaniacon MC
5:  Shooting Shark
6:  ME262
7:  Cities on Flame

Disc two:

1:  Last Days of May
2:  Godzilla
3:  Don't Fear the Reaper
4:  Black Blade
5:  Hot Rails to Hell

Recorded using Sony MZR-55 MD with core sound binaural (CSB) mics.

Taped by bcledfoot.
Taped By: Farve4
Catalog: Nickeh Productions 012
Format: SHN
Discs: 2CDR
Lineage: ecm-719 > Sony tcm-200 > Maxell UR MAS CAS | Maxell UR MAS CAS > Sony TC-FX211 > Line-In > Rec. w/ CEP > Hiss Reduction w/ CEP > Track Split w/ CEP | WAV > SHN using DBPowerAmp
Source: AUD
Disc One
1. Intro (2:29)
2. Joan Crawford(5:48)
3. Cities on Flame (6:18)
4. Burnin' For You (5:18)
5. ETI (5:21)
6. I Love the Night (7:43)
7. Buck's Boogie(7:36)
8. Harvester of Eyes(4:20)
9. Golden Age of Leather (7:00)
10. Astronomy (9:59)

Disc Two
1. Godzilla (15:07)
2. Guitar Solo (3:02)
3. Don't Fear the Reaper (7:16)
4. Crowd Noise (1:45)
5. Black Blade (6:27)
6. Seven Screaming Diz-Busters (8:18)
Overall a decent show. Not the best, but definatly listenable. The only editing done was hiss reduction. The band is very energetic, and talkative, and put on a good show.

Please do not sell this recording, or trade it in MP3.

Nickeh (www.nickeh.com)
LIneage:  Sony ECM-719 to Sony TCD-D7===Sony DG90P===Tascam DA 20 MKII

1.  This Ain't the Summer of Love
2.  OD'd on Life Itself
3.  Burning For You
4.  Shooting Shark
5.  Cities on Flame with Rock N Roll
6.  Last Days of May
7.  Godzilla
8.  Don't Fear the Reaper

Taper:  Farve4
Disc One
1) Introduction 
2) This Ain't The Summer Of Love
3) OD'd On Life Itself
4) Burnin' For You
5) Harvest Moon (w/Fight Sequence)
6) ?
7) Cities On Flame With Rock And Roll
8) Perfect Water
9) The Golden Age Of Leather/The Red & The Black
10) ?
11) Then Came The Last Days Of May
12) Godzilla
13) Don't Fear The Reaper
14) ?

Total Running Time: 89:51  

Equipment-Sony MZ-R-700 Minidisc with Audio Technica Pro-24 Microphone
Recorded and posted by Kipco (original taper)

Sony MD>Computer hard drive>flac>you

This was an interesting evening. BOC was playing at "Ribfest", an annual downtown 
Kalamazoo happening wherein the local restaurants and Port-A-Pit operators set up and 
compete to see who has the best ribs in town! The Arcadia Creek Festival Place is an open
air site in the heart of downtown Kalamazoo. The air at this show was a mixture
of seared pork, barbeque sauce and beer, with the occasional faceful of cigarette smoke.  

I almost didn't get in as the site was filled to capacity and not enough people were leaving
so there was a delay in getting in but I finally managed to get a spot on the left side of the
stage and set up to tape.  The very vocal crowd was a constantly shifting mass of people
as can be heard on the recording. As a result there are a few phasey spots where people got
between my mic and the band, but fortunately they are brief. I also managed to capture, in 
her full ignorant glory, some lady talking on her cellphone in between songs! (you can hear
this wonderful moment just before track 5!)  Why people talk on cell phones at concerts
is totally beyond me. 

The night's most interesting crowd incident occured when a big muscle bound guy (obviously 
very drunk) started pushing his way through the crowd to get down front. He nudged me on his
way up and seemed to be taking the attitude of "out of my way, puny humans!" In other words, 
a real asshole. He got a little ways up ahead of me when someone took offense to being shoved 
around by this guy and stood his ground. Muscleman didn't like that and shoved the guy into 
a crowd of people. A security guy spotted what was happening and headed down into the 
crowd to take care of it, calling for backups on his headset on his way to the floor. He 
hung with the guy until his backups came and they told Muscleman he had to leave. Well, 
Muscleman wasn't having any of that and he started shoving the security guys! Quicker
than shit they were on him and had him pinned to the ground, but during the scuffle the 
crowd shifted and knocked me back into some people who were sitting in folding chairs. 
Someone in front of me dumped a beer down my leg during the big push as well. Meanwhile, 
the security guys had Muscleman pinned down on the concrete with his arms extended, one 
security guy on each arm and one with a knee on his neck while Muscleman was yelling 
"Get off me". Someone in the crowd (not me, I swear) yelled "Beat his f*cking ass" to the 
security guys.  In the meantime, two more really big security guys had arrived, and at the end 
of the song, they picked him up and took him away to be arrested and taken to jail. I captured
the whole event while recording, you can hear it during the song "Harvest Moon". The rest of
the show seemed to proceed without incident except for a couple lame attempts at crowd surfing.  

Recording quality on this show is excellent, considering some of the conditions I was taping
under. As the show progressed I worked my way up closer to the stage until finally I ended up 
three people away from the barracade. Still, there was a lot of crowd movement, people cutting
in front of me to go here or there, lots of chatter, etc. As I said, there are a few phasey spots were
people were cutting in front of me but it's still a nice sounding show and I haven't 
seen any other complete BOC shows posted here from this year. 

I had to do a LOT of tweezing with the volume levels to balance them out and eliminate some clipping, 
but NO EQ was involved whatsoever! I don't normally post my own recordings but I thought since BOC 
put on a good show, I'd put it up for the fans and hopefully someone will hear it and go see them if they 
come nearby to their town, which helps out the band. Rudy Sarzo is playing on this tour and is on this 
recording. I also changed discs during the drum solo so there's about 20 seconds missing there, but if 
I hadn't I would not have been able to get all of "Reaper". 

Do not sell for profit, circulate in lossy formats or post on other torrents sites (I'd prefer to do that
myself!) Since I am not a diehard BOC fan, there are a few songs I need help with on the setlist so
help out if you can! 

Disc 1:
2.The Star-Spangled Banner
3.Love & Greed
4.Amber Awaits
5.Crash Burn >
7.The Mountains Win Again
8.Freedom >
9.Can't Win True Love >
10.NY Prophesie

Disc 2:
1.Ivory Tusk >
2.Run-Around >
3.Sadly A Fiction >
4.The Devil Went Down To Georgia
5.E:Band Intros
6.She Isn't Mine
7.But Anyway>
8.Save His Soul >
9.Carolina Blues

Taper:Yossi Pollak
Source:Neumann KM184(aimed at stacks)>Canare Star Quad cables>Edirol UA-5>PDAudio(coaxial)>Dell Axim X50v>SD card
Location:Dead Flipping Center FOB-30 feet from stage
Normalized to 100% with WavePad
Track splits and conversion to FLAC with CDWAV
Checked for SBE's with shntool-no errors reported.
bmaddock   a t   gmail  d o t   com
Source: "North Wind Blowing" Kiss The Stone /  KTS 578/79
more informations: http://www.bobsboots.com/CDs/cd-n29.html

no LB-Number for this one

very good sound


Disc one

(01) Leopard-Skin Pillbox Hat
(02) Man In The Long Black Coat
(03) All Along The Watchtower
(04) Positively 4th Street
(05) Most Likely You Go Your Way
(06) Silvio
(07) Tangled Up In Blue
(08) Lonesome Death Of Hattie Carroll

Disc two

(01) Ballad Of Hollis Brown
(02) Absolutely Sweet Marie
(03) Ballad Of A Thin Man
(04) Highway 61 Revisited
(05) Girl Of The North Country
(06) Rainy Day Women #12 & 35
(07) My Back Pages 

from http://www.bjorner.com:

Concert # 806 of The Never-Ending Tour. Concert # 22 of the 1996 Europe Summer Tour. 1996 concert # 50.
Concert # 350 with the 9th Never-Ending Tour Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), John Jackson (guitar), Tony Garnier (bass), Winston Watson (drums & percussion).
7-9, 13, 15  acoustic with the band.
1, 7, 13, 15  Bob Dylan harmonica.
9  John Jackson (banjo).
6, 10, 14  John Jackson, Bucky Baxter (backup vocals).

(after band credits before Highway 61 Revisited) I want to say hello to my friend Eric Anderson, who's here tonight. Eric, how are you doing? I know you're out there somewhere. He's a great ballad singer. I think he lives here now.

12 new songs (80%) compared to previous concert. No new songs for this tour.
Taper: "Bach"
Lineage: Neumann AK40 > MTX 191 A > Sony DAT TCD-D100 > WaveTerminal > WaveLab 6.01 > dBpower AMP Music Converter > MD5summer 

01.	Introduction
02. 	Maggie's Farm
03. 	Senor (Tales Of Yankee Power)
04.	Cry A While
05.	Just Like Tom Thumb's Blues
06.	It's Alright, Ma (I'm Only Bleeding)
07.	To Ramona
08.	Things Have Changed
09.	Highway 61 Revisited
10.	Man in the Long Black Coat
11. 	Stuck Inside of Mobile With the Memphis Blues Again

01. 	Mr. Tambourine Man
02. 	Honest With Me
03. 	Every Grain Of Sand
04. 	Summer Days
05. 	Cat's In The Well
06. 	Like A Rolling Stone
07. 	All Along the Watchtower

Maggie's Farm
The Times They Are A-Changin'
Lonesome Day Blues
Mr. Tambourine Man
It's Alright Ma (I'm Only Bleeding)
Po' Boy
Stuck Inside of Mobile with the Memphis Blues Again
Love Sick
Tweedle Dee & Tweedle Dum

Saving Grace
Honest with Me
Ballad of Hollis Brown
Summer Days
Like a Rolling Stone
All Along the Watchtower

taper: Streetcar Visions
Source: Schoeps CCM 4V > Lunatec V3 > Sony M1
Transfer: Sony D8 > Emagic 6/2 > Peak 4.12 > xACT
First Evening
Crystal Cat  787-788

London, England
Brixton Academy

November 20, 2005
Disc 1

1. Rumble (insturmental song by Link Wray) (incomplete) 
2. Drifter's Escape (Bob on harp) 
3. Señor (Tales Of Yankee Power) 
4. God Knows 
5. To Ramona  
6. It's Alright, Ma (I'm Only Bleeding) 
7. Queen Jane Approximately 
8. 'Til I Fell In Love With You 
9. Stuck Inside Of Mobile With The Memphis Blues Again 
10. New Morning 
11. Highway 61 Revisited 
12. Man In The Long Black Coat 
13. Honest With Me 

Disc 2

14. Desolation Row 
15. Summer Days 
16.  Don't Think Twice, It's All Right 
17.  All Along The Watchtower 

Sing Me Back Home  08/03/05
Rainy Day Women #12 & 35  08/03/05
It's All Over Now Baby Blue  14/03/05
A-11  14/03/05
Folsom Prison Blues  18/03/05
Saving Grace  11/04/05
Tough Mama  15/04/05
Tomorrow Is A Long Time  15/04/05


Second Evening
Crystal Cat  789-790

London, England
Brixton Academy

November 21, 2005

Disc 1
1. Rumble (insturmental song by Link Wray) (incomplete) 
2. Maggie's Farm 
3. The Times They Are A-Changin' 
4. Million Dollar Bash 
5. It's Alright, Ma (I'm Only Bleeding)  
6. Moonlight 
7. Down Along The Cove 
8. Boots Of Spanish Leather 
9. Cold Irons Bound 
10. Mr. Tambourine Man 
11. Tweedle Dee & Tweedle Dum 
12. Visions Of Johanna (acoustic) 
13. Honest With Me 

Disc 2

14. Waiting For You 
15. Highway 61 Revisited 
16.  London Calling (incomplete - 1 verse) 
17.  Like A Rolling Stone 
18.  All Along The Watchtower 

Lenny Bruce  16/04/05
Leopard-Skin Pill-Box Hat  17/04/05
****I Believe In You  17/04/05   ****Available On bobdylan.com  not uploaded
It Takes A Lot To Laugh, It Takes A Train To Cry  17/04/05
The Wicked Messenger  20/04/05
To Be Alone With You  29/04/05
Hazel  29/04/05
Not Dark Yet  29/04/05


Third Evening
Crystal Cat    CC791-792

London, England
Brixton Academy

November 22, 2005

Disc 1
1. Rumble (insturmental song by Link Wray) (incomplete) 
2. Maggie's Farm 
3. Love Minus Zero/No Limit 
4. Lonesome Day Blues 
5. Positively 4th Street  
6. Most Likely You Go Your Way (And I'll Go Mine) 
7. Cold Irons Bound 
8. Girl Of The North Country (acoustic) 
9. I Don't Believe You (She Acts Like We Never Have Met) 
10. John Brown (acoustic) 
11. Stuck Inside Of Mobile With The Memphis Blues Again 
12. Mississippi 
13. Highway 61 Revisited 

Disc 2

14. Waiting For You 
15. Summer Days 
16.  Like A Rolling Stone 
17.  All Along The Watchtower 


Po Boy  30/04/05
I'll Remember You  26/05/05
Tombstone Blues  29/06/05
You Win Again  04/07/05
Trying To Get To Heaven  10/07/05
I Shall Be Released  16/07/05
I Want You   20/07/05
One Too Many Mornings  21/07/05
Down In The Flood  20/10/05


Fourth Evening
Crystal Cat 793-794

London, England
Brixton Academy

November 23, 2005

Disc 1
1. Rumble (insturmental song by Link Wray) (incomplete) 
2. Maggie's Farm 
3. She Belongs To Me 
4. Cry A While 
5. Shelter From The Storm  
6. Down Along The Cove 
7. Positively 4th Street 
8. High Water (For Charley Patton) 
9. Most Likely You Go Your Way (And I'll Go Mine) 
10. Million Miles 
11. Stuck Inside Of Mobile With The Memphis Blues Again 
12. A Hard Rain's A-Gonna Fall 
13. Honest With Me 

Disc 2

14. The Lonesome Death Of Hattie Carroll (acoustic) 
15. Summer Days 
16.  Blue Monday (song by Fats Domino & Dave Bartholomew) 
17.  Like A Rolling Stone 
18.  All Along The Watchtower 

Tears Of Rage  24/10/05
Never Gonna Be The Same Again  26/10/05
Tangled Up In Blue  29/10/05
Shooting Star  30/10/05
You Ain't Going Nowhere  30/10/05
Things Have Changed  04/11/05
If Dogs Run Free  04/11/05


Fifth Evening
Crystal Cat 795-796

London, England
Brixton Academy

November 24, 2005

Disc 1

1. Maggie's Farm 
2. Tonight I'll Be Staying Here With You 
3. I'll Be Your Baby Tonight 
4. It's Alright, Ma (I'm Only Bleeding) 
5. Positively 4th Street  
6. Down Along The Cove 
7. Girl Of The North Country (acoustic) 
8. High Water (For Charley Patton) 
9. Just Like A Woman 
10. Highway 61 Revisited 
11. Every Grain Of Sand 

Disc 2

12. Honest With Me 
13. Sugar Baby (acoustic) 
14. Summer Days 
15.  London Calling (incomplete) 
16.  Like A Rolling Stone 
17.  All Along The Watchtower 

Ring Them Bells  06/11/05
Can't Wait  06/11/05
Simple Twist Of Fate  07/11/05
This Wheel's On Fire  08/11/05
Standing In The Doorway  13/11/05
My Back Pages  13/11/05
A MILEHIGH recording (audience) 
DPA 4061's > SPBB > SONY SBM-1 > SONY D-8 

Disc 1	73:42
1.	Introduction	1:14
2.	Things Have Changed	6:32
3.	The Times They Are A-Changin'	7:12
4.	Tweedle Dee & Tweedle Dum	5:34 
5.	To Ramona	5:45
6.	Stuck Inside Of Mobile With The Memphis Blues Again	9:00
7.	Love Sick	5:45
8.	I'll Be Your Baby Tonight	5:48
9.	Ballad Of A Thin Man	6:38
10.	I Don't Believe You	6:48
11.	Cold Irons Bound	6:56
12.	Lay, Lady, Lay	6:26

Disc 2	21:41
1.	Cat's In The Well	5:17  	 
2.	Encore			2:51
3.	Like A Rolling Stone	7:02
4.	Band Introductions	0:46
5.	All Along The Watchtower	5:45
Band Members
Bob Dylan - keyboard, harp
Stu Kimball - rhythm guitar
Denny Freeman - lead guitar
Donnie Herron - violin, electric mandolin, pedal steel, lap steel
Tony Garnier - bass
George Recile - drums
CD 1
1. intro
2. Cat's In The Well
3. The Times They Are A-Changin'  
4. Watching The River Flow 
5. It's Alright, Ma (I'm Only Bleeding) 
6. When I Paint My Masterpiece 
7. Rollin' And Tumblin'  
8. Workingman's Blues #2  
9. 'Til I Fell In Love With You 
10. A Hard Rain's A-Gonna Fall  
11. Tangled Up In Blue  
12. Spirit On The Water  

CD 2
1. Highway 61 Revisited
2. Nettie Moore 
3. Summer Days 
4. Masters Of War
5. Thunder On The Mountain  
6. band intros
7. All Along The Watchtower 

(CD 1 = 72:31 / CD2 = 41:22)

Recorded and torrented by audiowhore 

Lineage = SP-CMC-8 > Samson PM-4 > Denecke phantom power > Minidisc (Sony MZ-NH1 Hi-MD) > Adobe Audition > FLAC > Dime 
As Columbia Records once advertised, "Nobody Sings Dylan Like Dylan." Still, I always love to hear Dylan covers. Whenever one pops up, at a show or online, I listen attentively for something new the singer might bring to the song. For the last few years, I've been collecting them via bit torrent with an eye toward making a compilation. Here is the first volume of what may be many, if there is interest, and if I can find the time and energy. For now, I've avoided the Dead, the Byrds and some other usual suspects, but they may appear later. I have sequenced this for flow; total running time is 78:00. I've put the two longest tracks at the end, so those of you who don't like jams or have short attention spans can avoid them. I haven't done any artwork, but if there are any frustrated album cover designers out there, I would love to have some.

Due to the many different sources, I am not including lineages; soundboards and FMs have an asterisk, the rest are very good to excellent audience recordings. I have done nothing to the original files but normalize the levels and fade in and out on each track (using Cool Edit). Thanks, of course, to the tapers, and to the original uploaders. Enjoy! JS

1. Everything is Broken - Neil Young (10-28-89, Shoreline Amp., Mtn View, CA)
2. Dark Eyes - Alejandro Escovedo (10-1-04, Texas Union Hall, Austin, TX)*
3. When the Ship Comes In - Billy Bragg (9-26-05, Talking Bob Dylan Blues The Barbican Theatre, London)*
4. Hard Rain - Big Country w/Eddi Reader (5-31-99, Glasgow SECC, Glasgow, Scotland)*
5. Ring them Bells - Warren Zevon (10-13-96, The Bluebird, Denver, CO)
6. The Groom's Still Waiting at the Alter - Steve Wynn (7-27-05, Molly Malone's Irish Pub, Los Angeles)*
7. When I Paint My Masterpiece - Elvis Costello, Emmylou Harris, and Gillian Welch (10-6-06, Hardly Strictly Bluegrass Festival, Golden Gate Gate Park, San Francisco, CA)
8. Girl From the North Country - The Eels (5-9-05, Morning Becomes Eclectic, KCRW - Santa Monica, CA)*
9. Love Minus Zero - Ron Sexsmith (10-24-97, The Milky Way, Amsterdam)*
10. Highway 61 Revisted - World Party (7-12-93, Summer Stage, Central Park, New York)
11. Stuck Inside of Mobile with the Memphis Blues Again - Soft Boys (October 27, 2002 ,The Mercury Lounge, New York City) 
12. Fourth Time Around - Calexico (7-9-03 Zeltival am Tollhaus, Karlsruhe, Germany)*
13. Positively Fourth Street - X (8-2-86, The Ritz, New York City)*
14. Queen Jane Approximately - Mojave 3 (4-17-96, Morning Becomes Eclectic, KCRW - Santa Monica, CA)*
15. Hurricane - Phish (8-16-97, Loring Air Force Base, Limestone, ME)*
16. Blind Willie McTell - Mick Taylor (9-16-00, Jack Legg's, Nashville, TN)*


Disc One:

The Zimmerman Home Tape, 1958:

Hey Little Richard
Buzz Buzz Buzz
Jenny Jenny
We Belong Together

The Wallace Apartment Tape, May 1960:

Nobody Knows You
The Great Historical Bum
Mary Ann
Sinner Man
Abner Young
Muleskinner Blues
One Eyed Jacks
Columbus Stockade Blues
Go Down Ye Murderers
This Land Is Your Lan
Rockabye My Sara Jane

Dylan Apartment Tape, September 1960:

Red Rosey Bush
Johnny I Hardly Knew You
Jesus Christ
Streets Of Glory
Kc Moan
Muleskinner Blues
I’m A Gambler
Talkin’ Columbia
Talkin’ Merchant Marine
Talkin’ Hugh Brown
Talkin’ Inflation Blues

Gleason Home Tape, February 1961:

San Francisco Bay Blues
Jesus Met The Woman At The Well
Gypsy Davey
Pastures Of Plenty
Trail Of The Buffalo
Jesse James
Riding In My Car
Southern Cannonball
Bring Me Back My Blue Eyed Boy
Remember You

Gooding Apartment Tape, March 1962:

Ballad Of Donald White
Rocks And Gravel
(It Makes A) Long Time Man Feel Bad
Ranger’s Command

Disc Two:

Beecher Apartment Tape, May 1961:

Ramblin’ Round
Death Don’t Have No Mercy
It’s Hard To Be Blind
This Train Is Bound For Glory
Harmonica Solo
Talkin’ Fish Blues
Pastures Of Plenty
This Land Is Your Land
Two Trains Running
Wild Mountain Thyme
Riding In My Car
Don’t You Push Me Down
Come See
I Want It Now
San Francisco Bay Blues
Young But Daily Growing
Devilish Mary
Railroad Bill
Will The Circle Be Unbroken
Man Of Constant Sorrow
Pretty Polly
The Butcher Boy
James Alley Blues
Why’s You Cut My Hair?

Hollow Horn records
Received on vinelist Oct 2007
Bob Stenson - p
Christof Lauer - sax
Anders Jormin - b
Jon Christensen - d

1. My Man's Gone Now/Moon and Sand
2. NOT
3. The Enlightener
4. ?
5. ?
6. Descent
7. ?
9th Festival di Cultura e Musica Jazz

Bobo Stenson - piano
Christian Spering - bass
Jon Fait - drums

1. Vers le top (Vladimir Visotzky) 14:17
2. Tonus (Bobo Stenson) 13:29
3. Melancholy (Duke Ellington) 12:01
4. untitled (John Coltrane) 8:01
5. El Major (Silvio Rodriguez) 9:23
6. There Comes a Time (Tony Williams) 9:55
7. Race Face (Ornette Coleman) 7:20
Sound quality A+
Source is Radio Broadcast
CDR > HD > FLAC level 6 

First Set (of two): 
1. The Warmth Of The Sun (Brian Wilson)
2. Paranoid Android (Radiohead)
3. My Ideal Ballad (Whiting, Chase & Robin)
4. Think Of Love (Thelonous Monk)
5. Mother Nature's Son (Lennon & McCarthy)
6. My Heart Stood Still (Rodgers & Hart)

Brad Mehldau; piano
Brad Mehldau - Piano

Disc 1
1. CCTune - 5.08
2. Wall's Tune - 5.50
3. Junk - 7.25
4. Los Angeles - 5.26
5. Think Of Me - 7.43
6. I Concentrate On You - 4.33
7. Martha My Dear - 4.10

Disc 2
1. From This Moment On - 5.49
2. Paris/Portrait in Black & White - 10.29
3. Someone To Watch Over Me - 11.41 
4. Riverman (Encore) - 6.59
5. Cry Me A River (2nd Encore) - 5.17
Tape recorder>CD recorder>CD-CA Extractor & Converter>Flac
Sound A (Possible FM hiss - no noise reduction used)

Brad Mehldau	Piano
Darek Oles	Contrebasse
Jorge Rossy 	Batterie

01-	Lament For Linus		06:14 	(Brad Mehldau)
02-	Ron’s Place			08:38	(Brad Mehldau)
03-	The Way You Look Tonight 	16:56
04-	I Fall In Love Too Easily	11:12
05-	Nobody Else But Me		13:27
06-	Carrière & Delmas conclusion	01:59

Total time:	58:31
Lineage: fm>SoundBlaster>wav>flac

Jerusalem Symphony Orchestra
Conducted by Leon Botstein

Announcer (5:39)
Schumann: Manfred Overture from "Symphony No. 4 in D Minor, Op. 120" (11:52)

Announcer (1:52 + 2:30)
Joachim – Concerto for violin and orchestra (In the Hungarian Style), Op. 11 feat. Daniel Kossov - violin

I. Allegro Un Poco Maestoso (25:47)
II. Romanze: Andante (9:31)
III. Finale Alla Zingara: Allegro Con Spirito (11:37)

Announcer (0:35 + 4:34)
Brahms: Symphony #1 in C minor, Op. 68 (40:34)
I. Un poco sostenuto - Allegro
II. Andante sostenuto
III. Un poco Allegretto e grazioso
IV. Adagio - Piu Andante - Allegro non troppo, ma con brio

Announcer (0:13)

Total Time: 114:48
01 Study 16
02 Study 17
03 If A Bell Became A Drone...
04 Campion Bells
05 Bell Study With Distant Delays

16:31 minutes

This one is very rare. In 2003 to promote an Italian wine (Pellisero) a promotional CD was sent to wine distributors. This promotional CD included 5 unreleased Brian Eno tracks.

berndkretzschmar -at- web.de

Dime download>CD Burn>EAC>FLAC
12.7.2006 from 14:45 to 15:15

iRiver iHP 120 WAV 44,1Khz
-Core Sound Binaurals

total length 33:27 minutes. 

The recording itself is quite good, the music played is a variation of `Ikebukuro`- a piece Eno has used for various installations in the past.

The venue itself is very noisy (you can hear a lot of noise from outside and the restaurant nearby). However, this adds a certain something to it (IMO)- there you have the outside hectic `reality`and at the oposite the very quiet, static installation recording.

This very installation is on tour right now, starting off in Tokyo, and will be set up (slightly altered) in various European cities such as Madrid to promote the new dvd rom release `77 Million Paintings`which I can highly recommend. If you run it you have your own mini Eno installation at home (with paintings permutating/changing permanently on your PC screen)

Tracks from generative music: 

1.Komarek (3:33)
2.Platform 292 (7:46)
3.Supporting Circle (2:38)
4.Klee 4.2 (5:13)
5.NS-9001 (5:11)
6.Rhotko Doric (5:15)
7.Tintoretto (7:47)
8.Seed Reflector (2:41)
9.Methane IV (7:56)
Total Playing time 48:03 

these tracks were created with KOAN software. If you have thisa software and the right soundcard you will literally hear a different version of the very tracks each time played as they are permutating (this is a fascinating thing by the way). Thus these versions were recorded once but (unless kept as recordings these very version wouldn`t be heard ever again (because there are millions of possible permutations). 

Even though there were several versions of these very tracks already uploaded here as stated before: these are different versions. 

In case you are not tired of it I have two more CDs of Eno Generative Music that I can upload. (I still depend on other Eno collectors for these because I do not have the right soundcards in order to play the software properly).

By the way: watch out for Eno`s new dvd rom `77 million paintings`which do the use the same idea visually, mixing and permutating graphics on your pc screen (which is like having an Eno installation at home)
Original txt file:

Brian Eno- More Generative music II

in case you missed it:
Brian Eno- More Generative music

01 - Brian Eno - Densities III            5:09
02 - Brian Eno - Microcosmology           5:06
03 - Brian Eno - Methane II              14:04
04 - Brian Eno - Pulse Ie                 5:05
05 - Brian Eno - Babylon Papillaris      18:59     
06 - Brian Eno - Organa II                5:10
07 - Brian Eno - Lysis (Tungsten)        46:43

these tracks were created with KOAN software.

software info:


If you have this software on your computer and the right soundcard you will literally hear a different version of the very tracks each time played as they are permutating (this is a fascinating thing by the way). Thus these versions were recorded once but (unless kept as recordings) these very version wouldn`t be heard ever again (because there are millions of possible permutations).

Even though there were several versions of these very tracks already uploaded here as stated before: these are different versions.

In case you are not tired of it I have two more CDs of Eno Generative Music that I can upload. (I still depend on other Eno collectors for these because I do not have the right soundcards in order to play the software properly).

software info:


Soundcard Minimum requirements

Windows PC and Creative Labs AWE64 /AWE32 / SB32 Soundcard (100% compatible) or SBLive! + LiveWire 2 / Audigy soundcard (90% compatible with standard SBLive! GM Soundfont bank, or 100% compatible with additional AWE GM SoundFont Bank). Without the right soundcard this title will not sound as intended.

By the way: watch out for Eno`s new dvd rom `77 million paintings`which uses the same idea visually, mixing and permutating graphics on your pc screen (which is like having an Eno installation at home)

Enjoy ;-)

DISC #1 - Set I

01) Interlocking Intro Jam w/ QST ->
02) I Might Be Wrong ->
03) Machine -> #
04) Astphadel ->
05) Interlocking Outro Jam w/ QST

DISC #2 - Set II

01) Interlocking Intro Jam w/ QST ->
02) Who Really Runs the Planet ->
03) Bottlecap ->
04) Who Really Runs the Planet
05) Crowd/Banter
06) Catharsis
07) Crowd/Banter
Encore (with QST)
08) Boy

microtech gefell sms2000/200 > ps2 > ad20 > d8
d8 > dio2448 > cdwave > shn
(# 3:25 - 9:20 segment of d1t03 is AT3528 -> PS/2 -> AD-20 -> D8
 to replace dropout caused by low ps2 battery)
tape and transfer by steve sanford - tracking by andrei marinenko
Set 1 

Let's Start A Gang -> Inside The Tinman -> Celebrity -> Catharsis -> Inside The Tinman, State Police -> Catharsis

Set 2 

Dead Clowns -> Machine -> Too Late To Call -> Machine, Leave The Light On -> Fascination Street -> A Wonderful Day -> Fascination Street

E: Getaway Somehow -> A Wonderful Day
Set I
Leave The Light On ->
One Rabbit Race ->
Forget You Know Me ->
Monsters Come Out At Night
Let's Start A Gang ->
Year Of The Horse ->
Everything Must Go ->
Year Of The Horse

Set II
Can You Keep A Secret?
Simple Gift Of Man ->
Celebrity ->
Simple Gift Of Man
What's On Your Mind? ->
Too Late To Call
The Ceiling ->
Everything Must Go ->
The Ceiling

State Police ->
One Rabbit Race

Source: DPA 4022(DIN, extended 3' from right side of SBD on balcony)->V3->M-Audio FW410->Toshiba 1905->Wavelab 5(24/96)
Lineage: UV22HR(16/44.1)->CDWave->FLAC
Taped by: Scott Schneider
Transferred by: Scott Schneider

Sound: A
Show: A-
DPA 4027 (split 2.5' / 100deg DFC/front rail) > V3 > JB3 > CDWave > FLAC

Taped and transferred by Scott Schneider

Simple Gift of Man > 
Too Late to Call >
Simple Gift of Man 
Words Like Weapons >
Getaway Somehow >
Squeeze >
Who Really Runs the Planet >

Ghost in Me 
Bitches and Candy >
Love Will Tear Us Apart >
Bitches and Candy
Bottlecap >
Tired Sigh >
Who Really Runs the Planet
encore break
Night Villians
Source - (Multitrack - 8 track source recorded with a Tascam DA-88)
Transfer - Tascam DA-88 -> Tascam PCI822 - > Nuendo

all mixing done in Nuendo
all mastering done in wavelab

Tracks recorded:
1 - kick drum
2 - drums L
3 - drums R
4 - bass
5 - guitar
6 - keyboards
7 - organ/laptop
8 - vocals

Recorded, Mixed and Mastered by Rich Steele

Set 1
Disc 1

01 - Lunar Cycle
02 - Inside the Tinman
03 - Forget You Know Me ->
04 - Can You Keep A Secret
05 - banter
06 - Shut Up* ->
07 - Lines On Our Hands**
08 - Shut Up

Set 2 
Disc 2 

01 - Anvils
02 - Year Of The Horse ->
03 - Getaway Somehow ->
04 - Year Of The Horse
05 - Bitches and Candy
06 - banter
07 - Leave The Light On ->
08 - A Wonderful Day
09 - crowd/banter
10 - Life On A Boomerang

*  - with keyboard player from RAQ
** - with guitar player from RAQ
Taper: John Dewey (hammerhorror) 
Uploader: John Dewey (hammerhorror) 

Source: Neumann KM140's  (DIN) > Hydra Mic Cables > Lunatec V3 > Marantz PMD671 @ 24/48, digital spdif in - (Dithered down to 16/44.1 for this download).

Conversion: NEXTO OTG > Adobe Audition > CD Wave Editor > FLAC Frontend 


01. Jam > 
02. Let's Start A Gang* > 
03. Boy 
04. Too Late To Call  > 
05. Inhale > 
06. Who Really Runs the Planet >
07. Fascination Street (The Cure)
08. State Police > 
09. Forget You Know Me >
10. Who Really Runs the Planet

Please enjoy this great show and recording. Please keep seeding for as long as you can. NEVER sell any recordings. Do Not Trade MP3 Versions of this show. Please let me know your comments on the show and recording.
Sony ECM-MS907 - Sony PCM-M1 - Sound Forge (normalized and some volume adjustments to reduce
clapping between songs) - TRacks - CDWAv - FLAC (level 6)

Taped from Row B (front row) center. Super Stealth!

Taped and transferred by musicjaime

Bruce had caught a cold and it shows in some of his vocals. He was obviously under the 
weather. As a result, there was only one encore. Still a great show!! Enjoy.

Disc 1 (Set 1):
1) *Rouler Sa Bosse
2) Going to the Country
3) Silver Wheels
4) Mighty Trucks of Midnight
5) *King Kong Goes to Tallahassee
6) Wondering Where The Lions Are (encouraging audience to sing)
7) If A Tree Falls (beautiful version)
8) *Elegy
9) Wait No More

Disc 2 (set 2):
1) *Water into Wine
2) All the Ways I Want You
3) Put It in Your Heart
4) Intro to "This is Baghdad"
5) This is Baghdad
6) To Tell the Universe
7) After the Rain
8) Last Night of the World
9) *End of All Rivers
10) Messenger Wind
11) Crowd


12) *Mistress of Storms
13) Mystery

(* Instrumental
Solo show


Disc 1:
01. Wavy Gravy Into (edited)
02. Rouler Sa Bosse
03. Goin' To the Country
04. Open
05. If I Had a Rocket Launcher
06. Live Short Call Now Intro
07. Life Short Call Now
08. Beautiful Creatures
09. Put It in Your Heart
10. Tell the Universe
11. This Is Baghdad

Disc 2:
01. After The Rain
02. Different When It Comes To You
03. Last Night of the World
04. The End of All Rivers
05. Wondering Where the Lions Are
06. Mystery
07. King Kong Goes to Tallahassee
08. If A Tree Falls

4th Of July, Asbury Park (Sandy)
New York City Serenade
Spirit In The Night
Does This Bus Stop at 82nd Street?
It's Hard to Be a Saint in the City
You Mean So Much to Me
Opening Comments
Tenth Avenue Freeze Out
Spirit in the Night
Then She Kissed Me
Growin' Up
It's Hard to Be a Saint in the City
Intro to the E Street Shuffle
The E Street Shuffle
When You Walk In the Room
She's the One
Born to Run
Thunder Road

Intro to Kitty's Back
Kitty's Back
Encore Comments
Quarter to Three
Closing Comments

Kitty's Back
The E Street Shuffle
Tenth Avenue Freeze-Out
It's Hard to Be a Saint in the City
Thunder Road
When You Walk In the Room
She's the One

From the liner notes:

August 15, 1975 - High Temp in NYC 85, Low 65, Wind 10mph avg, gusts to 15mph. No precipitation.

A breezy midsummer night in NYC, where all the heat was concentrated on the
corner of West 4th and Mercer in Greenwich Village, NY.

Lots of Springsteen fans (me included) couldn't get into the Bottom Line - it usually seats 400, but there was
a larger than usual number of music industry seats reserved for these 10 shows (two shows each night
August 13-17.)

WNEW-FM broadcast the early show Friday night.

I've been searching for a complete copy of this broadcast since that night, when
the mono reel to reel tapes I made had many missing pieces due to lots of different reasons.

All of the bootlegs released by the profiteers were incomplete in some way, minor or major.

Finally, in March 2004, nearly 29 years later. I found it. It is not the final word on
this show in terms of sound quality, but it is the COMPLETE broadcast, without anything missing.

Turn it on and listen to it just like you would have back in August 1975. All the station
breaks and DJ chat and such are there.

Thanks to the many people involved in this project, from the tape source, to those
who let me borrow reel to reel decks to get the dub to DAT, to others who gave advice on
mastering procedures or supplied alternate sources. Your kindness will not be forgotten.
Disc 1
1. Badlands
2. Streets of Fire
3. Spirit in the Night
4. Darkness on the Edge of Town
5. Independence Day
6. The Promised Land
7. Prove It All Night
8. Racing in the Street
9. Thunder Road
10. Meeting Across the River
11. Jungleland

Disc 2
1. Kitty's Back
2. Fire
3. Candy's Room
4. Because the Night
5. Point Blank
6. Not Fade Away
7. She's the One
8. Backstreets/Sad Eyes
9. Rosalita

Disc 3
1. 4th of July, Asbury Park (Sandy)
2. Born to Run
3. 10th Avenue Freeze Out
4. Detroit Medley
5. Raise Your Hand
CDR Trade>EAC (Secure)>WAV>FLAC (level 8)

Disc 1:

 1. Good Rockin' Tonight (3:46) 
 2. Badlands (4:55) 
 3. Spirit In The Night (9:33) 
 4. Darkness On The Edge Of Town (4:46) 
 5. Independence Day (7:14) 
 6. The Promised Land (6:05) 
 7. It's My Life (5:38) 
 8. Thunder Road (6:03) 
 9. Jungleland (10:31) 
10. Santa Claus Is Coming To Town (5:21) 
11. Fire (3:02) 
12. Candy's Room (3:20) 

Disc 2:

 1. Because The Night (7:17) 
 2. Point Blank (9:18) 
 3. Kitty's Back (14:04) 
 4. Rosalita (Come Out Tonight) (11:46) 
 5. Born To Run (6:25) 
 6. Tenth Avenue Freeze-Out (5:27) 
 7. The Detroit Medley (10:07) 
Disc 1:

   1. High School Confidential
   2. Badlands
   3. Spirit In The Night
   4. Darkness On The Edge Of Town
   5. Sweet Little Sixteen
   6. Independence Day
   7. The Promised Land
   8. Prove It All Night 

Disc 2:

   1. Racing In The Street
   2. Thunder Road
   3. Meeting Across The River
   4. Jungleland
   5. Santa Claus Is Coming To Town
   6. Fire
   7. Candy's Room
   8. Because The Night
   9. Point Blank
  10. Kitty's Back 

Disc 3:

   1. The Fever
   2. Incident On 57th Street
   3. Rosalita (Come Out Tonight)
   4. Born To Run
   5. Tenth Avenue Freeze-Out 

Sound: A-
Show: A
Great Dane Records 9221
Excellent Soundboard

From the Boots.Net "Top 55" 
Disc 1:
1. Tunnel Of Love
2. Be True
3. Adam Raised A Cain
4. Two Faces
5. All That Heaven Will Allow
6. Seeds
7. Roulette
8. Cover Me
9. Brilliant Disguise
10.Spare Parts
12.Born In The USA

Disc 2:
1. Tougher Than The Rest
2. Ain't Got You
3. She'S The One
4. You Can Look But You Better Not Touch
5. I'm A Coward
6. I'm On Fire
7. One Step Up
8. Part Man Part Monkey
9. Backstreets
10.Dancing In The Dark
11.Light Of Day /

Disc 3:
1. Born To Run (Acoustic)
2. Hungry Heart
3. Glory Days
4. Rosalita
5. Have Love Will Travel
6. 10th Avenue Freeze-Out
7. Sweet Soul Music
8. Raise Your Hand
9. Little Latin Lupe Lu (first time since 1977)
10.Twist And Shout 

Notes: This is another show where we are very lucky to have a soundboard recording, this one taken from
the video feed. The Tunnel of Love Express Tour turned a corner in late April, when Bruce, according to
Dave Marsh in Glory Days, told Julianne Phillips that he had started seeing Patti Scailfa, a member of the
E Street Band. At the same time, Bruce's performances on-stage improved, and the set list started changing.

In addition to a strong performance on the regular set,the show featured the first E Street Band performance
of "Little Latin Lupe Lu" since 1977 and the first "Twist and Shout" of the tour. Available on the CD "Roses
and Broken Hearts." 

Following this show, Peter Gabriel talked to Jon Landau and Bruce about joining Amnesty International's Human
Rights Now! Tour, which was to mark the 40th anniversary of the Declaration of Human Rights.
original Doberman discs (SBD) > EAC(Secure) > WAV > seekable SHN

Disc One:-

 1:- The Rising
 2:- Lonesome Day
 3:- The Ties That Bind
 4:- Night
 5:- Empty Sky
 6:- You're Missing
 7:- Waitin on a Sunny Day
 8:- No Surrender
 9:- Worlds Apart
10:- Badlands
11:- She's The One
12:- Mary's Place

Disc Two:-

 1:- Counting on a Miracle
 2:- Thunder Road
 3:- Into the Fire
 4:- Where The Bands Are
 5:- Glory Days
 6:- Born To Run
 7:- My City of Ruins
 8:- Born in the USA
 9:- Land of Hope and Dreams
10:- Dancing in the Dark
Bonus Disc:

St. Lukes Church Night
2005-05-09, St. Lukes Church
London England

Crystal Cat 801-803

Original Silver Discs --> EAC (Secure) --> Waw --> Flac Level 6 & Align --> ABMS

101. Intro
102. O, Mary Don't You Weep
103. John Henry
104. Johnny 99
105. Old Dan Tucker
106. Eyes On The Prize
107. Jesse James
108. Cadillac Ranch
109. Long Black Veil
110. Eire Canal
111. My Oklahoma Home
112. How Can I Keep From Singing?
113. Mrs. McGrath

201. Intro
202. How Can A Poor Man Stand Such Times And Live?
203. Jacob's Ladder
204. We Shall Overcome
205. Open All Night
206. Pay Me my Money Down
207. My City Of Ruins
208. Buffalo Gals
209. You Can Look
210. When The Saints Go Marching In
211. Devils & Dust *

(* Oslo 2006-05-20

301. Intro By Johnny Walker
302. John Henry
303. O, Mary Don't You Weep
304. How Can A Poor Man Stand Such Times And Live?
305. Mrs. McGrath
306. My Oklahoma Home
307. Jacob's Ladder
308. We Shall Overcome
309. Pay Me My Money Down
310. Interview By BBc DJ Johnny Walker
Original silver discs ( CC 760-761 ) -> EAC ( secure ) -> WAV -> FLAC

Disc 1

1. Intro
2. My beautiful reward
3. Reason to believe
4. Devils & Dust
5. Lonesome day
6. Long time coming
7. Silver palomino
8. The river
9. Real world
10. Part man, part monkey
11. All the way home
12. Nebraska
13. Reno
14. Racing in the street
15. The rising

Disc 2

1. Further on ( up the road )
2. Jesus was an only son
3. Leah
4. The hitter
5. Matamoros banks
6. Ramrod
7. I'm on fire
8. Land of hope and dreams
9. The promised land
10. Dream baby dream
11. Audience
12. Empty sky ( 5-5-2005 )
13. Two faces ( 5-5-2005 )
14. Paradise ( 11-5-2005 )
Sony ECM-717 > Sony D8 > Philips CDR-880 >
Extracted w/ CD Creator > CD Wave > 
Cool Edit Pro for level adjustments >
FLAC Frontend

Disc One:

Prove It All Night
Reason to Believe
Devils & Dust
Empty Sky
Long Time Comin
Black Cowboys
4th of July, Asbury Park (Sandy)
Leap of Faith
State Trooper
Maria's Bed
The Line
When You're Alone
You're Missing

Disc Two:

The Rising
Darkness on the Edge of Town
Jesus Was an Only Son
If I Should Fall Behind
The Hitter
Matamoros Banks
Does This Bus Stop at 82nd Street?
My Best Was Never Good Enough
The Promised Land
Dream Baby Dream

Sound: B
Show: B+
Set I
Prove It All Night
Reason to Believe
Devils & Dust
Empty Sky
Long Time Comin'
Black Cowboys
4th of July, Asbury Park (Sandy)
Leap of Faith*
State Trooper
Maria's Bed
The Line

Set II
When You're Alone
You're Missing
The Rising
Darkness on the Edge of Town
Jesus Was an Only Son
If I Should Fall Behind
The Hitter
Matamoros Banks

E: Does This Bus Stop at 82nd Street?
My Best Was Never Good Enough
The Promised Land
Dream Baby Dream

listed as audience/IEM matrix
From Section 114, row G, seat 11

AT853 > battery box > Nomad Jukebox 3 (WAV, 44.1) > USB digital transfer to PC

Remaster from original tapes - the volume on the original release was very low, and 
there was an imbalance between the Left and Right channels. To present this show in 
its best quality, the following steps were acheived:

1. Cool Edit: increase volume in right channel 4.5db
2. Cool Edit: Hard Normalize to increase overall volume by 8db without clipping.
3. CD Wave for tracking and splitting waves.

Flac Frontend to create FLAC files and check for SBE

Disc 1:
   1. Into The Fire
   2. Reason To Believe
   3. Devils And Dust
   4. Empty Sky
   5. Long Time Comin'
   6. Highway 29
   7. The Promise
   8. All That Heaven Will Allow
   9. The River
  10. State Trooper
  11. Nebraska
  12. Maria's Bed
  13. Reno
  14. Nothing Man
  15. Racing In The Street

Disc 2:
   1. Lost In The Flood
   2. The Rising
   3. Spare Parts
   4. Jesus Was An Only Son
   5. If I Should Fall Behind
   6. The Hitter
   7. Matamoros Banks
   8. Ramrod
   9. Bobby Jean
 10. Land Of Hope And Dreams
 11. The Promised Land
 12. Dream Baby Dream 

Sound: B
Show: B
If I Should Fall Behind
Reason to Believe
Devils & Dust
Lonesome Day
Long Time Comin'
All That Heaven Will Allow
Tougher Than the Rest
Intro to Part Man, Part Monkey
Part Man, Part Monkey
All I'm Thinkin' About
Galveston Bay
Valentine's Day
The River
The Rising
Darkness on the Edge of Town

Intro to Jesus Was an only Son
Jesus Was an only Son
Two Hearts
The Hitter
Matamoros Banks
Waitin' on a Sunny Day
Wild Billy's Circus Story
The Promised Land
Dream Baby Dream
Audio-Technica AT853 > Sony TCD-D8 > 
Adobe Audition 1.5 (re-EQ, amplitude adjust, fade in/out, track splitting) >
CD Wave > FLAC Frontend

Disc One

Lift Me Up
Reason To Believe
Devils & Dust
Lonesome Day
Long Time Comin'
Back in Your Arms
For You
State Trooper
One Step Up
When You're Alone
Valentine's Day
Lost in the Flood

Disc Two

The Rising
Further On (Up the Road)
Jesus Was an Only Son
Two Hearts
The Hitter
Matamoros Banks
Bobby Jean
The Promised Land
Dream Baby Dream

Package includes artwork

Enjoy the show!


Rode NT5's>Sound Devices MP2>SBM1>D8
Transfer via Sony PCM-R500>HHB850>
Sound Forge (Fades & Tracking)

Disc I

1. Oh Mary Don't You Weep
2. John Henry
3. Johnny 99
4. Old Dan Tucker
5. Eyes on The Prize
6. Jesse James
7. Cadillac Ranch
8. Erie Canal
9. My Oklahoma Home
10. If I Should Fall Behind
11. Mrs. McGrath

Disc II

1. How Can A Poor Man Stand Such Times & Live
2. Jacob's Ladder
3. We Shall Overcome
4. Open All Night
5. Pay Me My Money Down
6. My City Of Ruins
7. Buffalo Gals
8. You can Look ( But You Better Not Touch )
9. When The Saints Come Marching In
For those who have been curious as to what Bruce is doing these days here
it is. A fun time for all so get out and buy those tickets. I think this tape will help.

Sound: 9/10
Taper: Kathleen (Core Sound stealth cardiod mics -> Core Sound Mic2496 Pre-Amp/A-to-D Convertor -> Dell AximX50v w/PDAudio-CF S/PDIF digital audio interface card) -> flac -> Wav -> Adobe Audition 3 db sound boost -> CDWav -> flac

I started this recording way ahead of the concert (in the bathroom) so as not to attract the attention of the ever present security guards.  Unfortunately it was almost an hour before the concert actually started and my Axim lost power during the encore. See the setlist for what is missing.  Sorry - I did the best I could with the conditions at hand.  When I got home, the flac file that I recorded was damaged due to the Axim losing power so I first had to repair the file before editing and cutting into tracks.  Otherwise this would have been up earlier.


Jesse James
Oh, Mary, Don't You Weep
Johnny 99
John Henry
Eyes on the Prize
Old Dan Tucker
Cadillac Ranch
Erie Canal
My Oklahoma Home
If I Should Fall Behind
Mrs. McGrath
How Can a Poor Man Stand Such Times and Live?
Jacob's Ladder
We Shall Overcome
Open All Night
Pay Me My Money Down


Turn! Turn! Turn! (Cut)
Buffalo Gals (missing)
You Can Look (But You Better Not Touch) (Missing)
When the Saints Go Marching In (missing)
CoreSound Binaurals w/ bass roll-off >
Sony D8 > Philips CDR-880 > extracted w/
CD Creator > CD Wave > FLAC Frontend

Disc One

Long Black Veil
O Mary Don't You Weep
John Henry
Johnny 99
Eyes on the Prize
Adam Raised a Cain
Old Dan Tucker
Cadillac Ranch
My Oklahoma Home
Mrs. McGrath
How Can a Poor Man Stand Such Times and Live?

Disc Two

Jacob's Ladder
We Shall Overcome
Open All Night
Pay Me My Money Down
If I Should Fall Behind
Buffalo Gals
You Can Look (But You Better Not Touch)
Daring Young Man on the Flying Trapeze
Flynn Remaster of the Original Dime-Posted Recording

I boosted the levels, evened out the spots where the levels
went up or down, added some high end, and boosted the 144 
frequency.  I also fixed the track markings.

Track listing:

Disc 1
1. Intro
2. O Mary Don't You Weep
3. Intro
4. John Henry
5. Johnny 99
6. Intro
7. Old Dan Tucker
8. Eyes on the Prize
9. Jesse James
10. Intro
11. My Oklahoma Home
12. Intro
13. Mrs. McGrath
14. Intro
15. How Can a Poor Man Stand Such Times and Live?
16. Jacob's Ladder
17. Intro
18. We Shall Overcome

Disc 2
1. Open All Night
2. Pay Me My Money Down
3. Intro
4. My City of Ruins
5. Buffalo Gals
6. You Can Look (But You Better Not Touch)
7. Intro
8. When the Saints Go Marching In

Original Information from the Taper/Poster

Source: Schoeps MK4>R-Box>SBM-1>M1
On 7 foot stand 150 feet back from stage right

Transfer: Pansonic 3700 into stand alone HHB burner

CDR ripped using EAC

Note that the last track on disc 1 cuts off 15 seconds before 
ending, but is complete on disc 2 track 1

I am posting this, because it brought the crowd to tears (read any 
of the reviews of this performance) - it was the first public debut 
of this 17 piece group, and they were on fire! 

I have not seen this show posted anywhere else, and I thought DIME 
members deserved to hear it first!

This concert was uploaded a couple of weeks ago. It was a nice one. But this upload is from ANOTHER SOURCE. The sound quality of this one is, in my humble opinion, so good that, maybe, it is a candidate for the best 2006 recording of Bruce. Perhaps not the best one but at the least  IT'S AN ABSOLUTE TOP RECORDING OF AN EXCELLENT CONCERT!  That's the reason why I wanna share it with you: it's a clear upgrade.
The music comes out very well: bright & clear. The vocals are very near by and audible. There's an almost perfect balance between the music and the audience: almost no talkers, no singers and/or handclapping by the public in the music. Just like everybody wishes a good recording must be.

recording details:
recorded from a VIP-box with Sennheiser cardoid mikes MKE-40 > custom made power unit > Sony TCD-D8 DAT

editing/mastering details (for the techno-freaks):
Tascam DA-40 > analog > Yamaha 2x31 equalizer (some low boost only) > SPL Vitalizer (some small changes in the low/mid range) > Layla 24/96 > digital > Sound Forge 7 (fade in/out, normalising, some dynamic equalizing, click & crackle, editing) > WAV
(Don't let this all scare you. It didn't ruin the original recording. It just gave the recording some extra drive & power and the things you don't wanna hear were suppressed or removed. This is the complete concert and NO essential parts were deleted! The editing is done with a well-trained musical ear! )

WAV > FLAC Frontend (level 8, verify, align on sector boundaries)

101 intro
102 O Mary Don’t You Weep 
103 John Henry
104 Johnny 99
105 Old Dan Tucker
106 Eyes On The Prize
107 Jesse James
108 Cadillac Ranch (w Mystery Train)
109 Long Black Veil
110 Erie Canal
111 My Oklahoma Home
112 Mrs. McGrath

201 intro to >
202 How Can A Poor Man Stand Such Times And Live?
203 Jacob’s Ladder
204 We Shall Overcome
205 Open All Night
206 Pay Me My Money Down
207 My City Of Ruins
208 Ramrod
209 You Can Look (But You Better Not Touch)
210 introduction band
211 When The Saints Go Marching In
212 Buffalo Gals
Taper : 2mas

cdr from taper -> EAC -> Wav --> Flac (level 8, align border sectors & verify)


01.John Henry
02.O Mary Don't You Weep
03.Johnny 99
04.Old Dan Tucker
05.Eyes on the Prize
06.Jesse James
07.Adam Raised a Cain
08.Long Black Veil
09.Erie Canal
10.My Oklahoma Home
11.Bring Them Home (If You Love Your Uncle Sam)
12.Mrs. McGrath


01.How Can a Poor Man Stand Such Times and Live?
02.Jacob's Ladder
03.We Shall Overcome
04.Open All Night
05.Pay Me My Money Down
06.My City of Ruins
08.You Can Look (But You Better Not Touch)
09.When the Saints Go Marching In
10.Buffalo Gals

Enjoy The Show,

Taper: SparkJockey
Recorded from the left side of the stage, 5 rows behind the pit

SP-CMC-19 > SP-Microtrack Mic Power > Microtrack (16/44.1 Wav.)
Transfer: Microtrack > PC > Flac level 8 > Nero 6 > DVD+R

Mastering: Flac > Cool Edit Pro (amplification/equalization/editting for 
clapping) > CDWAV > Nero 7 > CDR

Disc 1
01 Intro 
02 Atlantic City
03 John Henry
04 O Mary Don’t You Weep
05 Johnny 99
06 Old Dan Tucker
07 Eyes On The Prize
08 Jesse James
09 Erie Canal
10 My Oklahoma Home
11 Intro (Froggie Went A Courtin’)
12 Froggie Went A Coutin”

Disc 2
01 Mrs McGrath
02 How Can A Poor Man Stand Such Times And Live?
03 Jacob’s Ladder
04 We Shall Overcome
05 Open All Night
06 Pay Me My Money Down
07 PSA
08 My City Of Ruins
09 Rag Momma Rag
10 You Can Look (But You Better Not Touch)
11 When The Saints Go Marching In
recording: dpa4061 mics > sony tcd 100
transfer: DAT > s/pdif in m-audio Audiophile> CD wav
mastering: Audacity to amplify, CD Wav for track splits

Disc 1 (74:11)
1 O Mary Don't You Weep
2 John Henry
3 Atlantic City
4 Old Dan Tucker
5 Eyes on the Prize
6 Jesse James
7 Johnny 99
8 Erie Canal
9 My Oklahoma Home
10 Long Black Veil
11 Mrs. McGrath

Disc 2 (76:58)
1 intro to Poor Man
2 How Can a Poor Man Stand Such Times and Live?
3 Jacob's Ladder
4 intro to WSO
5 We Shall Overcome
6 Open All Night
7 Pay Me My Money Down
8 Bring Them Home
9 Rag Mama Rag
10 You Can Look (But You Better Not Touch)
11 When the Saints Go Marching In
12 Buffalo Gals 
disc one:
American Land
John Henry
O Mary Don't You Weep
Johnny 99
Old Dan Tucker
Eyes on the Prize
Jesse James
Atlantic City
Erie Canal
My Oklahoma Home

disc two:
If I Should Fall Behind
Mrs. McGrath
How Can a Poor Man Stand Such Times and Live?
Jacob's Ladder
We Shall Overcome
Open All Night
Pay Me My Money Down

disc three:
Bring Them Home
My City of Ruins
You Can Look (But You Better Not Touch)
When the Saints Go Marching In

AT853 Hypercardoid > Microtrack 24/96 (24 bit/44.1 kbit)
Section 202, row E
mics in hat, 17cm sep., 70 deg
Taped by Scoper
Recorded from the left side about 
5 rows back.

CoreSound Binaurals w/ bass rolloff >
Sony D8 > Philips CDR-880 > Extracted w/
CD Creator > Cool Edit Pro for some level
adjustments and high end boost > CD Wave >
FLAC Frontend

disc one:

American Land
John Henry
O Mary Don't You Weep
Old Dan Tucker
Atlantic City
Long Black Veil
Jesse James
Long Time Comin'
Erie Canal
My Oklahoma Home

disc two:

If I Should Fall Behind
Mrs. McGrath
Devils & Dust
How Can a Poor Man Stand Such Times and Live?
Jacob's Ladder
We Shall Overcome
Open All Night
Pay Me My Money Down

disc three:

My City of Ruins
You Can Look (But You Better Not Touch)
When the Saints Go Marching In
The Man on the Flying Trapeze

bonus track :
Maria's Bed (6/24/06, recorded from lawn)
 CDR from master(got it in a trade)>wave(EAC)>flacf(8)
 I think it`s FM or SBD or a really,really great audience tape,
 but the quality is in my opinion too good for an audience tape.
 It`s wonderful  music from some great artists.


 Bill Bruford - drums.
 Chris Botti - trumpet.
 David Torn - guitars, loops, electric bansuri.
 Tony Levin - Stick, bass, NS Electric Upright

 01.Etude Revised   14:29
 02.Original Sin    08:52
 03.Cerulean Sea    08:06
 04.Deeper Blue     06:27
 05.A Place of Pearls(on a Blade of glass)  05:40
 06.Cracking The Midnight Glass     05:44
 07.Band Introduction    01:15
 08.3 Minutes Of Pure Entertainment   08:35 
 09.Fin de Siecle     06:15
 10.Cobalt Canyons    07:42
Late show

East Coast Tour	

Bruford Levin Botti Torn

3 Minutes Of Pure Entertainment
Original Sin
A Palace Of Pearls
Cerulean Sea
Cracking The Midnight Glass
Oud Solo / Improv
Etude Revisited
Cobalt Canyons
Source: TV Broadcast> Low Generation VHS> NTSC DVD

1. Introduction by Steve Allen
2. Unknown
3. Unknown
4. Unknown
5. Unknown
6. Channel One Suite
7. Birdland
8. Interview with Steve Allen and Billy Taylor
Original notes:

Date unknown, est. 197x

Source: Unknown; but reported to be taped at the venue, not a braodcast
Transfer: Unknown
Current status: Medium generation CDR from a most probably lossless format lineage. After transfer from master to CDR only CDR generations to my knowledge. No compression, no lossless formats as far as known.

01 Time Out			06:59
02 Best Coast			04:50
03 Party Time			06:08
04 Round Midnight		06:51
05 No Jive			06:10
06 Sophisticated Lady		05:28
07 The Summer Knows		04:33
08 Channel One Suite		17:08
09 Norwegian Wood		03:42

Notes: Very rare recording from Germany in very good sound quality. Passed on among pro musicians in Germany playing in big bands themselves. Not identical with other Buddy Rich recordings from Stuttgart. Never been released officially or as bootleg, so far never seen posted anywhere on trading platforms to my knowledge.   

Any help sourcing the exact origin and date appreciated. Any help cleaning up the recording appreciated as Buddy's band gives one of the best performances that I have heard so far. The recording captures the band at the 110% Buddy Rich always demanded. The band is just perfect, precise, spot-on and the recording would deserve the best audio quality possible. If someone could improve the already very good sound quality, I'd be happy to see it re-posted.

Taper: Christopher Jones <jones.chris@gmail.com> 
Source: DPA 4022 Compact Cardioid > Sound Devices 722 Hard Disk Recorder (@ 24-bit / 96 kHz) 
Location: Directly in front of bar, DFC.  Mics ORTF at 8'.
HD > .flac: Sound Devices 722 Hard Disk Recorder > Apple Power Mac G4 MP800  mHz / 512MB > T.C. Works' Spark XL 2.8 > xACT 1.4b28 

Resampled and dithered using T.C. Works' respective highest quality resampling and Ultra-Noiseshaping functions.  A 24-bit / 96 kHz version of this recording exists in .flac24. 

t01 Introduction					01:17.39
t02 Porchlight						05:10.23
t03 Summer						04:22.53
t04 Mineral						06:06.06
t05 Butterscotch					03:46.57
t06 Torch Singer					03:45.32
t07 Three Easy Pieces					06:22.24
t08 Crutch						06:16.03
t09 You'll Never Catch Him				05:20.29
t10 Clobbered						04:01.63
t11 Under My Thumb ^					07:14.33
t12 Wiser						05:38.43
t13 Tangerine						05:27.70
t14 Kitchen Door					03:34.58
t15 Frozen Lake						05:27.71
Gare du Nord
disk 1 - 51:41

02. A Minor Swing
03. The Bullfrog Shuffle
04. > The Jig Is Up
05. Natchez Trace
06. Tony solo
07. BŽla solo
08. Killer Bees On Caffeine
09. The Sunta
10. -tuning
11. Cripple Creek > Earl's Breakdown

disk 2 - 56:20

01. Classical Medley 
02. Happy Birthday to Margaret 
03. Cheese Whiz
04. Elzic's Farewell > Green Willis > Whiskey Before Breakfast
05. Beatles Medley: You Won't See Me > I Feel Fine > You Never Give
	Me Your Money > Sun King > Here, There & Everywhere > Michelle >
	Drive My Car
06. -thanks for coming outÉ
07. John Hardy
08. -crowd 
10. Foggy Mountain Special > 

Source: DSBD DAT from Sean Hawkins
Transfer: Casio DA-7 > Tascam CD-RW 700 (pass through) >
M-Audio 24/96 > @ 24 Bit to Wavelab > to 16 bit CD WAVE > FLAC 
Transfers, Remastering and Seeded to bt.etree.net by Bill Koucky February 2007 

Source: FOB Neumann KM-140 > Beyerdynamic MV-100 > Sony SBM-1
Transfer: (2006-05-13) master DAT > Panasonic SV-3700 > TC-Electronic Finalizer+ (bypass, electrical>optical) > Macbook Pro > Amadeus 3.8.6

01 intro
02 Vix 9
03 Throwdown at the Hoedown
04 E Guitar
05 Big Country
06 And Why Not?
07 Funk E.
08 Who's Got Three?
09 Almost 12
10 The Big Blink >
11 Stomping Grounds
12 crowd
13 Ramblin' *
14 outro

(*) w/ John Medeski and Chris Wood
Throwdown at the Hoedown
Intro > 3/4
Off the Top
Vic solo
Am Latin

Futch solo
Futch with Béla
Big Country
Dm 5/4
Mars Needs Women
Earth Jam
Béla solo
Disc 1

01 Intro				01:10.49
02 Next					07:43.03
03 Bil Mon					08:14.53
04 Band Intros				02:21.03
05 Latitude					05:36.24
06 Scratch					11:09.26
07 Vic Solo > Vic/Bela			18:35.39
08 Off The Top				08:36.24
09 Futch Solo > Futch/Jeff		13:18.04

Disc 1 Total: 76:45.00

Disc 2

01 Christmas Medley			08:52.65
02 Snatchin'				07:35.42
03 Pineapple Heart			05:52.19
04 Costa Brava				12:50.65
05 Bela Solo				17:47.59
06 Throwdown				09:32.08
07 Sleeping Dogs				04:45.36

Disc 2 Total: 67:16.69
Disc One
01: Intro
02: Next
03: Sex In A Pan
04: Latitude
05: Band Intros
06: Bill Mon
07: Futch Solo
08: Futch/Bela
09: Off The Top
10: Something

Disc Two
01: Vic Solo
02: Vic/Jeff
03: Sleeper
04: Am Latin
05: Bela solo
06: Moment So Close

Source: {onstage} AKG ck61 > Active Cables > JK Labs DVC > Canare Starquad Interconnects > Apogee Mini-Me > Powerbook G4 @ 24/48
Lineage: Spark XL v2.8 to record, resample, dither, and track. xACT v1.3 to fix SBE's and create shn's
Taped by: Jon Ice (ice@justdmb.com)
Transferred by: Jon Ice (ice@justdmb.com)
From: http://www.archive.org/details/bfft2004-04-06.ck61.shnf

Sound: A+
Show: A
Earth Jam
Cheeseballs in Cowtown
Lover's Leap
Futch solo
Futch & Béla
Big Country

Vic solo
Vic & Jeff > Throwdown at the Hoedown
Extra New Guitar
New G Tune
Blu Bop
New South Africa
Béla solo
The Sinister Minister
Sleeping Dogs
1: Intro
2: Wash
3: The Ride, Part II
4: Service & Repair
5: Tulsa Telephone Book
6: Fade
7: Minas de Cobre
8: Ballad of Cable Hogue
9: Canción del Mariachi
10: El Picador
11: Frontera/Trigger
12: Hey Baby, Qué Paso
13: Stray
14: Cascabel
15: Crystal Frontier

Source: SBD/AUD Matrix (Multitrack)> Master DAT > Mastering (custom - analog & digital - 10/02/04) > CDR(m) > FLAC
Lineage: CDR(m) > EAC (secure) > WAV > FLAC [7]
Disk 1

1: Pepita
2: Across the Wire
3: Quattro
4: Frontera/Trigger
5: Dub Latina
6: Sunken Waltz
7: El Picador
8: Not Even Stevie Nicks
9: Fade
10: Fatal Spring >
11: Close Behind
12: Woven Birds
13: Minas de Cobre
14: Spokes
15: Stray
16: Corona
17: Güero Canelo

Disk 2

1: Black Heart
2: Falling Rain*
3: Alone Again Or*
4: Cancion Del Mariachi
5: Crystal Frontier
6: Attack El Robot! Attack!

Source: SBD/AUD Matrix (Multitrack)> Master CDR(PreFM)>Mastered via SADiE w/ 24 bit Drawmer Masterflow Processing (05/03)> CDR
Lineage: CDR(m) > EAC (secure) > WAV > FLAC [7]
Taped by: Recorded by P3 Live (Sweeden)
Transfered by: Mastered by Jim Blackwood - Official Calexico Archivist
Source: Audience
Master: CSB mics>Sony PCM-M1 @44.1kHz 

Transfer: DAT @44.1kHz (Sony PCM-M1)>Zefiro ZA2>CoolEdit>WAV>EAC>FlacFrontend>Flac

Artwork included 

Disc 1:

01 Yours And Mine
02 Cruel
03 Across The Wire 
04 Stray 
05 Dub Latina
06 Bisbee Blue
07 Deep Down 
08 Not Even Stevie Nicks
09 Minas De Cobre
10 Lucky Dime

Disc 2:
01 Roka
02 Sunken Waltz
03 Letter To Bowie Knife
04 Alone Again Or

Encore 1:
05 Panic Open String
06 Nom De Plume
07 Guero Canelo

Encore 2:
All Systems Red
not for trade - commercial release
Set 1 (cd1)

Iron & Wine
01 - Sodom, South Georgia
02 - Cinder And Smoke
03 - Resurrection Fern
04 - An Angry Blade
05 - Trapeze Swinger
06 - On Your Wings
07 - Freedom Hangs Like Heaven
08 - Evening On The Ground
09 - Free Until They Cut Me Down
10 - Woman King
11 - Teeth In The Grass

Iron & Wine with Calexico
12 - Red Dust 
13 - Prisoner On Route 41
14 - Sixteen, Maybe Less
15 - Burn That Broken Bed

Set 2 (cd2)

Salvador Duran
01 - ??
02 - ??
03 - ??

Calexico (cd3)
01 - Yours And Mine
02 - Cruel
03 - Across The Wire
04 - Stray
05 - Not Even Stevie Nicks
06 - Deep Down
07 - Ballad Of Cable Hogue
08 - Panic Open String
09 - El Picador

Calexico with Salvador Duran
10 - Roka (Danza De La Muerte)

11 - Letter To Bowie Knife
12 - Alone Again Or
13 - Black Heart
14 - Sunken Waltz
15 - All Systems Red

16 - Bisbee Blue

Calexico with Iron & Wine and Salvador Duran
17 - He Lay In The Reins

Calexico with Iron & Wine
18 - All Tomorrow's Parties

Great Show.  Three hours of solid music.  A few Notes.  The volume levels were adjusted between sets 1 & 2, as the
recording level was close to clipping in Set 1. The first song of Iron & Wine's set is slightly spoiled by two loud 
chatterers. Luckily after this they were told to shut up so no problems from then on.  If anyone knows the name of the 
three Salvador Duran songs and the Instrumental please post. 

Source - Audience recording. Left Of Stage Front Row
Audio Technica 831b>SONY PCM-M1 DAT>Audacity>Wav>Flac

Files received as 48000Hz Flac files.
Additional lineage: Flac>Wav(Flac 1.1.2/shntool)>Resample to 44100Hz(Audacity)>Wav>Flac & Fix SBEs (Flac 1.1.2/shntool)
Recorded by Dazzer3435.  Dazzer3435 recording Number 41
Visit www.from1fan2allothers.com

1 Aristillus 1:28
2 Song within a song 7:27
3 The Great Marsh 1:48
4 Rhayader 3:18
5 Rhayader Goes to Town 5:39
6 Air born 5:00
7 Chord change 6:45
8 The White Rider 8:20
9 Lunar Sea 9:24
10 Preparation 3:25
11 DunKirk 5:57
12 Another Night 6:45
Total Disc 65:16

Broadcast on WSAN -FM San Francisco

Peter Bardens : Keyboards
Andrew Latimer : Guitar, vocals
Mel Collins : Flute, Saxes
Doug Ferguson : Bass
Andy Ward : Drums, Percussion

	Coming off the successes of Mirage and Snow Goose, 1976 saw Camel release another 
masterful work called Moonmadness. Each member of the band contributed compositions to the 
album which reached #15 in the music charts. 
Camel had an extensive tour of the United Kingdom in March and April of 1976 to coincide with 
the release of this new album. The addition of Mel Collins on Sax and Flute had changed the 
Camel sound. His inclusion in the band at the beginning of this tour had given Camel more of 
a jazz feel. This was also the first time that Camel had used film as a visual component of 
their shows. As Andy Latimer told Melody Maker,  "This is the first time we've used films, and 
I don't want us to get into it too much. ...We're not a very bopping band, so it's nice for 
the audience to have something to watch". A short break followed the 17 concert, U.K. tour 
after which Camel came to California for a performance in San Francisco at the Boardinghouse 
on June 26th. This was their first US performance in over a year and their last until February 
of 1979 when they again returned to play in California.
Six of the seven new Moonmadness album songs were played that night. The concert begins with 
two of the new entries. The audience is then told that they are about to get, "a little slice 
of the Snow Goose". The first three songs of that all instrumental album are then played with 
received with great enthusiasm. The band returns to Moonmadness material playing Air Born and 
Chord Change. They then proceed to The White Rider from Mirage, Lunar Sea from the new album, 
two more from Snow Goose and then a final selection from Moonmadness.  Overall, a great 
performance hitting all the highlights of the band's material to that point.

Notes from the Re-Master
	This was generally a good quality recording of a radio broadcast, only a minor degree 
of noise reduction was necessary to remove hiss which was distracting during quiet segments and 
solos. However, major variations in volume occurred throughout the show and were quite 
noticeable. In the remastered version, these are corrected. The last 25 minutes of the show also 
displayed an imbalance between the two channels which was fixed. Pops and Clicks were also 
removed and a little tonality adjustment was made in some places because of a "muddy" sound; 
the result of insufficient treble.

Helping Out
Please help get this show circulated. Visit http://from1fan2allothers.com for details.
Taper:                Avi Sareen (Supernash@vt.edu)
Source:                Earthworks SR-77 > Sound Devices MP-2 > Graham Patten ADC-20 > M1
                7 feet DFC

DAT > CD Conversion:        Avi Sareen (Supernash@vt.edu)

Equipment: Tascam DA-30 mkII > Monster Coax > Sek'd Prodif Plus >
        Samplitude v5.5 > Cool Edit Pro > MKW Audio Compression Tool

** No DAE - DAT > .WAV > .SHN

Disc 1
01 - Paradise City !                                        07:18.502
02 - Shine                                                04:01.127
03 - The Boxer                                                05:00.843
04 - Keyboard Intro -> Life Less Ordinary                04:50.196
05 - Torn To Tattered                                        07:20.856
06 - Mountain Music @                                        04:41.362
07 - 7 Brides For 7 Sinners                                03:17.475
08 - Raise The Roof                                        08:54.229
09 - Sympathy For The Devil #        ->                         08:57.058
10 - American Tale (Train Outro)                         04:24.400
11 - Sloop John B ->                                        01:51.657
12 - Home                         04:40.895

Disc 2
01 - Desperation Song                                        08:08.475
02 - Paloma -> Percussion Jam -> Paloma                        08:24.445
03 - Days Gone By                                        06:42.514
04 - Get Busy $                                                04:11.613
05 - I know the Reason                                        15:29.572
06 - Mary Mac Intro ->                                        02:21.570
07 - Mary Mac                                                05:44.457
08 - What About Everything?                                06:26.505
09 - Time %                                                07:58.522
Tom Sawyer ^                                                05:17.331

! Guns 'n Roses Cover
@ Alabama Cover
# Rolling Stones Cover
$ Sean Paul Cover
% Pink Floyd Cover
^ Rush Cover

- Entire show with Kevin Davis on percussion and Carlos Chaffin on Keyboard/Accordian
- The wind can be heard towards the end of the show between tracks. Those who were there know why

Compiled by Avi Sareen 8/4/03 
Taped By: Farve4
Catalog: Nickeh Productions 009
Format: SHN
Discs: 2 CDR
Lineage: ecm-719 > Sony tcm-200 > Maxell UR MAS CAS | Maxell UR MAS CAS > Sony TC-FX211 > Line-In > Rec. w/ CEP > Hiss Reduction w/ CEP > Track Split w/ CEP | WAV > SHN using DBPowerAmp
Source: AUD
Disc One
1. Intro (1:47)
2. Peter Gunn (8:51)
3. Hoedown (4:34)
4. Enemy God (4:31)
5. Trilogy (8:53)
6. L.A. Nights (6:35)
7. Jam Session (14:29)
8. Romeo and Juliet (4:00)
9. Tank (4:41)

Disc Two
1. Bullfrog (6:53)
2. Toccata (9:25)
3. Canario (4:38)
4. Eruption/Aquatarkus (8:00)
5. Fanfare For the Common Man (21:35)
6. Carmina Burana (6:10)
Here we have The Carl Palmer Band having a great time. Carl seems happy to be alive in this recording. Speaking for minutes between songs happily moving from one topic to the next and then putting his all into the music.

The recording itself is not supurb, but definatly listenable. Was recorded to casette, transferred by me, and the only editing done was a low level run of hiss reduction. Is a complete show minus a quick tape flip between Tank and Bullfrog.

Please do not ever sell this show. Also, please never trade this show in MP3 format. And PLEASE, do enjoy this recording.

Nickeh (www.nickeh.com)

Peter Gunn
The Barbarian
The Enemy God
L.A. Nights
guitar solo
bass solo

Romeo and Juliet
Fanfare for the Common Man
Carmina Burana
SP-CMC-8 (Cardoids) -> Battery Box (no bass filter used) -> Sony D-7 DAT -> 
Maxell HS4/90s -> 7 Pin -> Creative Audigy 2 -> CDWAV -> FLAC Level 8 

Seat Location: 15 feet from stage, DFC, sitting with another taper to my right

Carl Palmer - Drums & Master of Ceremonies
Stuart Clayton - Bass
Paul Bielatowicz - Guitar

Disc One: 
01 Intro/Peter Gunn Theme/Barbarian 
02 Hoedown
03 The Enemy God
04 Trilogy
05 Solo Medley
06 Romeo & Juliet
07 Tank

Disc Two: 
01 Bullfrog
02 Toccata 
03 Canario 
04 Tarkus
05 Fanfare for the Common Man (inc Carl's drum solo)
06 Carmina Burana
Source Info:
Volume boost in Cool Edit Pro, no other editing done

DFC 10 rows front stage
David S.

Disk 1
1. The Barbarian
2. Hoedown
3. Enemy Guard
4. Trilogy
5. L.A. Nights
6. Solo Medley
7. Tank

Disk 2
1. Bullfrog
2. Toccata
3. Canario
4. ?
5. encore clapping
6. Romeo & Juliet
Performance Date Unknown
Broadcast Date - 2005-10-19

Lineage: fm>SoundBlaster>wav>flac

Announcer (0:59)
SCHUMANN Piano Trio No. 2 in F major, Op. 80 (27:38)
Sehr lebhaft
Mit innigem Ausdruck
In massiger Bewegung
Nicht zu rasch

Harumi Rhodes, violin; Gary Hoffman, cello; Adam Neiman, piano

Announcer (1:43)
BRAHMS Piano Trio in C minor, Op. 101 (19:41)

I. Allegro Energico
II. Presto Non Assai
III. Andante Grazioso
IV. Allegro Molto

Cho-Liang Lin, violin; Gary Hoffman, cello, Andre-Michel Schub, piano 

Announcer (0:19)

Total Time: 50:22
Charles Lloyd - tenor saxophone 
John Abercrombie - guitar
Marc Johnson - bass
Billy Higgins - drums

01 The Blessing   12:43
02 Dwija   9:59
03 Blues For Duke  and "Swee' Pea"   9:57
04 Abercrombie Solo   4:36
05 Unknown   11:58
06 Song   11:42

Total Time: 60:55

Lineage: FM > ? > flac > editing with Adobe Audition 2 > flac > Dime

I downloaded this (I can't remember where), but it came without a lineage and with no setlist.
There were some radio announcement in the original where I got some of the song titles from. Some
announcements were cut of. So I decided to get rid of these announcements and leave just
the pure music. I removed some mini gaps between songs (during the applause) and did some
minor fade-outs at the end of the applause to remove the speaker. The music was not effected from my 
editing, because it was excellent already and there was nothing to improve.

The radio programme was called "Sunday Night Sweets" from KCSM and KRML

Uploaded on Dime 2007-08-22 by jaype
Cover Art by jaype
no setlist available

Ch. Lloyd - saxes
Geri Allen - piano
Robert Hurst - bass
Billy Hart - drums
Source: FM>Tape Deck>Metal Audio Tape>trade>CDR>EAC Secure Modus>Flac Frontend Level 6>Flac
Sound: A-

Charlie Haden: bass
Dewey Redman: tenor sax
Mick Goodrick: electric guitar
Paul Motian: drums


1) unknown 23.52
2) unknown 21.17
Two discs of improvised jams.
aka Groundtruther. Two improvised sets.
Lineage: fm>SoundBlaster>wav>flac

Announcer 1:48
Rabbath - Iberique Peninsulaire 4:56
Opland Speaks 2:39
Vivaldi's (transcribed and edited by Francois Rabbath) Concerto in F for double bass and piano (Three movements)

Announcer/Opland 2:17
Gershwin Medley 
But Not for Me 3:45
Embraceable You 4:44
Summertime 3:24
They Can't Take That Away From Me 2:55
Opland Speaks 0:14
Our Love is Here to Stay 3:03

Bradley Opland, double bass; Frank Winkler, piano, vocals

Total Time: 38:52
Source: FOB, 10ft left of center - Marshall2003's w/Royer Mods>V3@24/48>Tascam HD-P2
sf8:normed,fades>16/44.1 tracked in CDWave, flac front end
Thanks to Gib Matchand for the setlist!

1.  intro
2.  Senorita
3.  Waltse for Abby
4.  Children's Song No. 6
5.  Joban Dna Nopia
6.  Mountain
7.  The Enchantment
8.  Spectacle
9.  encore:  Sunset Road


"Whenever Chick Corea and Bela Fleck take to the stage, genres always fly fast
and furious. Performing 
together, these two master musicians weave duets out of staggering
virtuosity creating mind-blowing magic performances. Says Béla: “every time Chick and I
have played together it has been an extraordinary experience. I have to go beyond my best
to hang with Chick!” Chick Corea's groundbreaking band Return To Forever launched the fusion
era of the '70s. His work with flamenco great Paco de Lucia led to the formation of Touchstone,
a band whose fiery Latinismo music has bridged the world of flamenco and jazz. His Piano
Concerto No. 2 headlined the Vienna's Mozart Celebrations this year. Chick's whole career
is the stuff of jazz lore, an amalgamation of influential, limit-stretching, genre-bending
musical experiences that have garnered him 12 Grammy awards and legions of fans worldwide.
Béla Fleck, considered the premiere banjo player in the world, lives to improvise and loves
to work with unexpected musical fusions. Fleck has won 8 Grammys and is the only musician to
be nominated for Grammys in jazz, bluegrass, pop, country, gospel, composition and world
music categories." (from the Planet Bluegerass Website)
Introduction by Jez Nelson (1:04)
Mistress Luck - A Portrait / The Party (Corea) (9:27)
Johnny's Landing (Corea) (15:17)
Introductions (0:56)
CTA (Heath) (19:14)
Got a Match? (Corea) (21:19)

Chick Corea - keyboards
Eric Marienthal - saxophone
Frank Gambale - guitar
John Patitucci - bass
Dave Weckl - drums
Set I

Chick Corea - Keyboard
Frank Gambale - Guitar
Eric Marienthal - Sax
John Patitucci - Bass
Dave Weckl - Drums
Taper: unknown

1		9:49
2		12:46
3		11:48
4	Dr. Watson	9:26
5		6:44
6	Is It Nature's Rock 'n' Roll?	9:17
7		6:28
8	(fade out)	13:32

Txt file:
Source: soundboard (possibly soundboard+audience matrix) > standalone CDR recorder > master CDR > CDR clone (Johnny Vidacovich's copy) > CDR clone (my copy)
Transfer: CDR (TAO) > MATSHITA CW-8121 (*) > Macintosh Powerbook G4 > X Audio Compression Toolkit 1.5b1 (Cdda2wav rip function) > Bias Peak 4.14 (TAO gaps removed; recording retracked and split into individual songs at sector boundary points) >  xACT 1.5b1 > flac (level 8 compression)

Disc 2 same details, except CDR (TAO) > PIONEER DVR-106D > Macintosh Powerbook G4

Note: Show is apparently incomplete. This appears to be the first 80 minutes.

Lineage: fm>SoundBlaster>wav>Nero WaveEditor (+6db only)>flac 

Conducted by Michael Tilson Thomas

Disk 1
Announcer 3:16
Copland: Suite from Our Town 11:34

Announcer 2:22
Tilson Thomas Introduction 4:36
Copland: Symphonic Ode 18:33
Total Time: 40:24

Disk 2
Announcer 1:09
Beethoven: Symphony No. 3 in E flat Op. 55 "Eroica" 	

Allegro con brio 14:11
Marcia funebre. Adagio assai 15:46
Scherzo. Allegro vivace 6:05
Finale. Allegro molto 11:49
Total Time: 49:01
Source: Cable TV broadcast > MD > CD-R > FLAC

One I Love
Don't Panic
Everything's Not Lost
I See You Soon
God Put a Smile Upon Your Face
The Scientist

In My Place
Life Is for Living
Lips Like Sugar

Sound: A
Show: A
FM >> Adobe Audition >> Flac Quality 8


01 - Intro
02 - Square One
03 - Politik
04 - Yellow
05 - Low
06 - Speed of Sound
07 - God Put A Smile Upon Your Face
08 - A Warning Sign
09 - Everything's Not Lost
10 - White Shadows
11 - The Scientist
12 - The Best Band In Camden Speech
13 - 'Til Kingdom Come
14 - Right Said Fred (Band Introduction)
15 - Don't Panic
16 - Clocks
17 - What If
18 - DJ Chat
19 - In My Place
20 - Goodbye Chat
21 - Fix You
Colorado State University Symphony
Colorado State University combined Choruses
Teens In Harmony Chorus
Cynthia Vaughn, Soprano
Todd Queen, Tenor
Lynn Dixon, Baritone

We attended this electrifying presentation of Carl Orff's (1895-1982) popular, "Carmina Burana", to see our nephew who is one of singers in the CSU Concert Chorus.  As my brother-in-law surmised after the performance, where else, other than in a university setting, could you see this rousing piece performed in its entirety by a full ensemble of instruments and voices?  Not very many places to say the least.  And they did not disappoint. One could not desire a more professional production in a state-of-the-art concert hall.  

According to the concert program, the piece was initially "condemned by local critics" when it premiered in Frankfurt in 1937 only later to be embraced by the Nazi regime as a celebration of early Aryan culture.  The music has great manipulative power and has been used and misused over the decades.  In reference to Leon Botstein's warning on the power of the music, CSU musicologist Jane Pollack writes, "the same emotional responses that Carmina Burana triggers in us today were part of the cultural fabric of an abhorrent regime.  We must not give in to cultural amnesia, for to do so would be to ignore the complexity of the music, to falsify its history, and to reduce the brilliant Carmina Burana to so many soundtracks characterized by the cliché's of mass culture, passivity and uniformity".  Very well said.  

There were no microphones on stage for the benefit of the musicians or singers.  All sound recorded was produced naturally in the beautiful Griffin Concert Hall.  I was sitting stage right just off center in row 7.  Lineage appears, below.  I did not edit the reproduction other than setting tracks according to the program.  In the concert program, the tracks were listed in Latin, High Middle German and English.  At slightly more than 62 minutes, the performance will fit nicely on one CD should you choose to burn it.  


AT 831s (SP CMC 2 Cardioids) > Reactive Sounds SPA-2 Boost Box Pre-Amp > Sony MZ RH10 > Linear PCM WAV files uploaded USB2 through Sony SonicStage > Minor editing in Cool Edit 2000 included only tracking, sector boundary alignment, conversion FLAC Frontend 4.1.1.

Original HI-MD audience recording by Poor_Yorick.  Lavalier mics on my lapel in an xy cross pointed at the stage.
Lastly, thank you for not selling this music or reproducing and distributing it in a lossy format such as MP3. 

Carmina Burana

01. Orchestra Tuning, Fortune, O Empress of the World
02. I Bemoan The Wounds of Fortune
03. The Merry Face of Spring
04. The Sun Warms Everything
05. Behold The Pleasant Spring
06. Dance
07. The Woods Are Burgeoning
08. Shopkeeper, Give Me Color
09. Round Dance
10. Were All The World Mine
11. Burning Inside
12. The Roast Swan
13. I Am The Abbot
14. When We Are In The Tavern
15. Cupid Flies Everywhere
16. Day, Night and Everything
17. A Girl Stood
18. In My Heart
19. If A Boy With A Girl
20. Come, Come, Oh Come
21. In The Balance
22. This Is The Joyful Time
23. Sweetest One
24. Hail, Most Beautiful One
25. O, Fortune
26. Applause, calls

Total Time: 62:17

Bob (P_Y) 

01. Instrumental Intro
02. Good Rockin' Tonight
03. What's the Matter Now?
04. Truck Driving Man_ (Official Track Deleted)
05. Four or Five Times
06. Down and Out
07. Mama Hated Diesels
08. Little Sally Walker
09. Ain't Nothin' Shakin'
10. Daddy's Drinkin' Up Our Christmas
11. Beat Me Daddy Eight to the Bar
12. HRL intro
13. Hot Rod Lincoln
14. Rave On
15. Rock That Boogie
16. Jailhouse Rock
17. Mean Woman Blues
18. Lost In the Ozone Again

A very great show from CCAHLPA,with a wonderfull setlist.
Sorry Folks ,one track must be deleted.

Thanks for the first seeder.


Misguided Angel
Dragging Hooks
I Don't Get It
Cause Cheap is How I Feel
Bread & Wine
A Common Disaster
Dreaming My Dreams With You
No Birds Today
Come Calling (His Song)
Seven Years
Anniversary Song
Tired Eyes
Black-Eyed Man
Leaving Normal
Highway Kind
Miles From Our Home
Sweet Jane

Sound: A
Show: A
Miles From Our Home
Cause Cheap is How I Feel
I Don't Get It
This Street That Man This Life
A Common Disaster
Dreaming My Dreams With You
Me and The Devil
Come Calling (His Song)
Seven Years
Good Friday
Leaving Normal
Tired Eyes
Black-Eyed Man
Dragging Hooks
Misguided Angel
Sweet Jane

Sound: A
Show: A
Schoeps CCM4's > PCM-M1 DAT
Recorded from 15th Row Left of Center, FOB

Disc One 
1 I'm So Glad 
2 Spoonful 
3 Outside Woman Blues 
4 Pressed Rat and Warthog 
5 Sleepy Time Time 
6 Tales of Brave Ulysses 
7 N.S.U. 
8 Badge 
9 Politician 
10 Sweet Wine 
11 Rollin' & Tumblin' 
12 Stormy Monday 

Disc Two 
1 Deserted Cities of the Heart
2 Born Under A Bad Sign 
3 We're Going Wrong 
4 Crossroads 
5 Sitting On Top Of The World 
6 White Room 
7 Toad 
8 Sunshine of Your Love 

Disc 1 
01. Senior Ballz Intro
02. ??
03. ??
04. Shag
05. T-Ski
06. A Love Supreme
07. BH Goes To A Freak
08. Red Eyed Wonder
09. Chatter
10. ??
11. ??

Disc 2
01. Orbatron Intro>
02. Orbatron
03. Security Scuffle
04. Orbatron
05. Sr Ballz Releases "The Claypool">Jam>
06. Crazy Train Tease (Ozzy Osbourne)>
08. Immigrant Song (Led Zeppelin)>
09. Thela Hun Ginjeet tease (King Crimson)>
10. Immigrant Song (Led Zeppelin)>
11. Jerry Was A Race Car Driver (Primus)>
12. ...???>
13. Yellow Submarine (Beatles)>
14. When Johnny Comes Marching Home (Traditional)>
15. Crazy Train Tease (Ozzy Osbourne)>
16. Immigrant Song Reprise (Led Zeppelin)
17. Flouride
18. ??>
19. bass jam>
20. Winona's Big Brown Beaver Tease (Primus)>
21. ??
22. The Family And The Fishing Net (Peter Gabriel)

Disc 3
01. Chatter
02. Tomorrow Never Knows (Beatles)
03. Chatter
04. Don't Fear the Reaper (Blue Oyster Cult tease)
05. Whole Lotta Rosie (AC/DC tease)
06. Mount Blasta
07. Introduction of Maurice "The Leopard" Caldwell, Jr
08. Maurice's Rap "I know You Hate my 98"/Mike's Rap Everybody's Gonna Get Small
09. Iron Man Tease (Black Sabbath - lyrics only)
10. My Name Is Mud (Primus tease - lyrics only)
11. ??
12. Burundi
13. Goodnight Now (Cheap Trick)

Source: SBD>DAT + Shure VP88 (onstage)>DAT + Neuman TLM 103 (room mics)>DAT (all at 48k)> Digidesign 888|24 I/O > Pro Tools (for edit & sync)> CDR. Les Claypool on 2nd Set
Northern Cross
Fall On Me
Shades of Gray
I Know What Kind of Love This Is
Ten Year Night
Are You Happy Now
Speaking with the Angel
Cold Missouri Waters
Ballad of Mary Magdalene
Auld Lang Syne
Cry Cry Cry
Sound Professional BMC6-mics (AT803b, omni-directional) -> SP batterybox -> Nomad JB3 (48.0kHz WAV, line-in, zero gain) -> USB -> Bias Peak -> few edits -> SHNTool -> SHN.

CD 1:
1. Still water (8:47)
2. The maker (8:26)
3. Slow giving (5:52)
4. Fire (4:30)
5. The messenger (3:56)
6. Rockets (4:53)
7. JJ leaves LA (4:25)
8. Sometimes (2:31)
9. Jolie louise (3:59)
10. Where will i be (6:29)
11. May this be love (6:17)

1. chat (1:09)
2. Power of one (6:25)
3. intros (0:56)
4. ?? (solo song with Daryl Johnson) (3:06)
5. The collection of marie claire > Drifting (with blood in my eyes) (7:56)
6. Transmitter (6:05)
7. ?? Cool ?? (7:05)
8. Sweet soul honey (6:34)
9. Brother L.a (6:58)
10. Sleeping in the devils bed (2:28)
11. Rocky world (2:41)
12. Space kay (4:16)
1. ?
2. Gator Strut
3. Down in the Willow Garden
4. The Big Man from Syracuse
5. Gostosinho (Tasty)
6. Fiddle Trio Medley
7. Queequeg's Big Adventure
8. ?
9. Couscous

Sound: A+
Show: A
Darol Anger - fiddle, cello
Sara Watkins - fiddle, vocals
Scott Nygaard - guitar
Tristan Clarridge - cello, fiddle

Taper:      spyboychoir (spyboychoir@gmail.com)
Source:     Peluso CEMC6/CK-4 (cards, DIN, center, 15' back, 6.5' high) > Kind Kables > Edirol UA-5 (bm2p+ mod) > Creative Nomad Jukebox 3
Conversion: JB3 > xNJB (USB) > Sound Studio 3 > WAV > xACT > FLAC (level 8)
Format:     16bit, 44.1kHz
Editing:    Sound Studio 3 (tracking, fades, applause compression 4:1 above -18dB)

DISC ONE (65:30)


01. (Intro)
02. Melt The Teakettle
03. When You Go (Djulaikta Waltz)
04. Lost In The Loop
05. Andre De Sabato Nuovo
06. Polska Upstairs
08. Higher Ground
09. Old Dangerfield

DISC TWO (40:45)


01. (Intro)
02. Death Be Mine
03. Angel's Waltz
04. Runaway Fiddle
05. Maurice
06. Father Adieu


09. Darling Corey


Level adjustments in d1t01

Sound: B
1.  Penelope (Douglas)  18:50
2.  Caterwaul (Douglas)  6:09
3.  The Frisell Dream (Douglas)  6:02
4.  Unison (Björk)  38:47
5.  The Infinite (Douglas)  6:33

Total   76:21

Dave Douglas: tr
Rick Margitza: ts
Uri Caine: e-p
Jame Genus: b
Clarence Penn: dr
Source:  BBC FM broadcast > CD-R recorder (Pioneer 609)
Editing: None other than Fade in / out
Transfer: >EAC > Flac Frontend (level 6) > you
Quality: A++ with very little FM hiss

This set was originally posted last February by member 'dirdel', with whose agreement and
help this BBC Jazz on 3 recording, FM direct to CD-R, is posted as a sonic upgrade.

To my ears at least, this is a really varied and enjoyable performance with more muscular
and energetic playing than some of his own more recent straight ahead groups.

Quality of recording is one of my very best, made on a night with very low FM hiss, so this
should be of interest both to listeners new as well as those who would appreciate a sonic

Dave Douglas - trumpet 
Seamus Blake - saxophone 
Jamie Saft - keyboards 
David Gilmore - guitar 
Ikue Mori - electronics 
Brad Jones - bass 
Derek Philips - drums 

09.53 Freak In
16.16 Culver City Park
08:28 November
15:53 Black Rock Park 
10:53 Eastern Parkway
07:52 The Great Schism
00:25 Applause > station announcer
FM>???>CDR>EAC>FLAC 6 (w/sector align)

1 7/4 Kids Zoo (MJ,b) 9:20 
2 Love Theme From Spartacus (MJ,b) 4:00 
3 Homecoming (DH,b) 5:30 
4 Vassarlean (DH,b) 6:30 
5 Jumpin' In (DH,b) 3:40 
6 Walkaway 4:40 
7 C17 5:00 
8 Sunrise / Chanson Pour La Nuit 8:00 
9 Mr PC 5:35

Dave Holland,b  
Marc Johnson,b
Dave Holland (double bass,cello)

FM>Cass>CDR>EAC>FLAC6(w/sector align)

1 Combination
2 Under Redwoods
3 Hooveling
4 Flurries
5 Derwish Dance
6 Last Moments
7 Solar
Dave Holland (b, cello)
FM>Cass>CDR>EAC>FLAC6(w/sector align)

1 Combination
2 Under Redwoods
3 Hooveling
4 Flurries
5 Derwish Dance
6 Last Moments
7 Solar


analog sat > pc > nero wave editor > shn tool > cdr

a sampler broadcast featuring Dave Holland & E.S.T. (separately)

01 Looking Up - DHQ
02 Juggler's Parade - DHQ
03 Serenade For The Renegade - EST
04 Car Crash - EST
05 Dodge The Dodo - EST
06 Dave talking about Miles Davis - DHY
Robin Eubanks - trombone
Chris Potter - saxophones
Steve Nelson - vibes
Dave Holland - bass
Billy Kilson - drums

1. Prime Directive (Holland) 7:20
2. Herbacious (Holland) 9:07
3. Metamorphose (Eubanks) 14:35
4. Looking Up (Holland) 16:48

TT: 47:51

Sound: A/A-

Lineage: FM > Minidisc > analogue to HD > 
GoldWave > FLAC (8)(asb)

Source: DLF Broadcast / prob. 2000
Dave Holland: contrabasso 
Chris Potter: sax
Robin Eubanks: trombone
Steve Nelson: vibrafono
Billy Kilson: batteria

CD1/ 73:35

01 band introduction 01:34
o2 Unknown title 11:47
03 The Blues 13:56
04 unknown title 19:15
05 Shifting sands 09:03
06 Full circle 17:46

CD2/ 32:19

01 Amotor silenti 08:53
02 Free for all 13:53
03 Unknown title 09:25

TT: 105:54
Pro-Shot DVD
Broadcast date: 7 August 2007 on Spanish TVE2

Lineage: dvb program stream -> TMPGenc DVD author -> Dimeadozen

Video Attributes:
  Video compression mode: MPEG-2
  TV system: 625/50 (PAL)
  Aspect Ratio: 4:3
  Display Mode: reserved
  Source picture resolution: 720x576 (625/50)
  Frame Rate: 25.00
  Source picture letterboxed: Not letterboxed
  Bitrate: 3.7Mbps

Audio Attributes: 
  Audio Coding mode: MPEG-1 or MPEG-2 without extension bitstream
  Sampling Rate: 48kHz
  Audio application mode: Not Specified
  Number of Audio channels: 2.0
  Number of Audio streams: 1

Dave Holland Quintet:
Chris Potter, sax
Robin Eubanks, trombone
Steve Nelson, vibraphone
Dave Holland, bass
Nate Smith, drums

No menu.
Setlist unknown. Chapters at every song break.

SOUND: A+ (perfect FM, listen to mp3 sample)

Dave Holland: bass
Kevin Eubanks: guitar
Mino Cinelo: percussion

1. 13.53
2. 07.44
3. 17.30
4. 07.26
5. 01.22
6. 15.07
7. 11.54
8. 10.39
Only You & I Know
Searchin' for a Feelin'
Pearly Queen
Every Woman
So Good to be Home
We Just Disagree
So High (Rock Me Baby & Roll Me Away)
Let it Go, Let it Flow
No Doubt About It
Takin' the Time to Find
All Along the Watchtower
Share Your Love
Warm & Tender Love > Will You Still Love Me Tomorrow

WLIR Pre-FM #38
Taper: Ned Ryerson
Source: Schoeps CMC5(modified)/MK41 > Apogee MiniMe (@16/44.1, Soft Limit On) > Sony D8
mods on CMC5 bodies: capacitors, transistors, and jfet changed. caps=Wima MKP2, transistors=2SA1085, jfet=j305.
Location: FOB, DFC
Conversion: Fostex D5 > Audiophile 2496 > Sound Forge 7.0 > CD Wave > MKWact

Disc 1

01 Intro.. 03:03.16
02 Dodo 07:33.63
03 Trouble 07:27.69
04 Up and Away 05:43.29
05 Solsbury Hill 05:00.61
06 Intro to.. 01:48.10
07 Stay or Leave 04:37.19
08 Save Me 05:32.43
09 Oh 03:43.73
10 Up On Cripple Creek 06:19.19
11 Some Devil * 06:32.11
12 Dancing Nancies + 07:48.45
13 Thing ~ 06:57.03
14 Tell Me Something Good 07:46.68

Disc 2

01 Gravedigger 04:45.27
02 Grey Blue Eyes 03:50.18
03 So Damn Lucky 06:50.55
04 Too High 07:35.00
05 Fire 04:25.10
06 Hey Bulldog 09:38.73
07 Waste Ä 06:01.31
08 Everyday Ä -> 03:47.46
09 Bathtub Gin Ä -> 05:48.00
10 Thank You 20:20.49

* Dave Solo
+ Dave And Tim
~ Dave, Tim and Brady
Ä Dave And Trey
Source: ASBD>CD?

CD>WAV>FLAC: Mike Belkin <MJBelkin@Uwm.edu>
 All songs encoded using EAC Secure Mode, All tracks 
 ripped had 100% quality.

Disc One:

01: Dancing Nancies * 03:53.35
02: I'll Back You Up * 03:21.12
03: The Maker * 03:40.12
04: Cry Freedom * 04:13.38
05: Song That Jane Likes * 03:03.68
06: Warehouse ^ 06:12.52
07: Jimi Thing 09:03.30
08: One Sweet World (Instrumental intro) 06:05.44
09: Lover Lay Down 05:45.74
10: True Reflections 05:05.28

Disc Two:

01: Angel From Montgomery 04:10.12
02: Tripping Billies 06:05.49
03: Recently 08:14.51
04: People People 06:45.26
05: Satellite # 04:59.38
06: Exodus $ 11:36.62
07: Typical Situation @ $ 06:44.22

^ - Mostly Jibberish type lyrics, no real form to them
$ - Featuring Daryl Rhodes on Percussion
# - Earliest known recording
'* - Dave Solo
@ - Extended Boyd and Leroi Intro

'*Most of the info from this show is unkown but safely assumed. It was found in a recording
 studio in Charlottesville Va by a college student recording with her college a capella group.
 She asked the studio guy if she could have it and he said yes. The Original was in the form of
 2 discs and were labeled with the date 11.27.1991 and they said they were recorded at Trax. 
 The current disc 1 was also labeled disc two and visa versa however it is obvious that they were 
 accidently switched or mislabeled. She gave the CDs to Marcus Graham who is responsible for helping
 us get this excellent show out.
Don't Drink the Water
American Baby
Anyone Seen the Bridge
Too Much
The Stone *
Best of Whats Around *
Raven *
Crush *
Pig *
The Idea Of You [Live Debut] *
Bartender *
When The World Ends *
Hunger For The Great Light *
What Would You Say 
Lie In Our Graves *
Too Much *
Pantala Naga Pampa *
Rapunzel *
Sister +
40[Tease] *
Ants Marching *

Show Notes:
(*) Rashawn Ross on Trumpet
+ Dave Solo
Disc 1

01 Intro 01:43.33
02 (Proudest Monkey) 00:28.46
03 Satellite * 06:03.04
04 JTR * 07:43.09
05 Pig * 07:52.35
06 Where Are You Going 04:27.43
07 Hunger For The Great Light * 04:35.28
08 Everyday * 09:01.36
09 Bartender * 21:02.13

Disc 2

01 Grey Street * 06:16.16
02 Grace Is Gone 15:10.52
03 Kill The King * 05:28.24
04 Raven * 07:08.06
05 Tripping Billies * 07:45.09
06 The Idea Of You * 05:17.34

Disc 3

01 Crash 06:54.40
02 Louisiana Bayou * 08:26.00
03 Encore Break 08:02.44
04 Sister + 05:19.55
05 Dreaming Tree * 13:50.29
06 Ants Marching * 07:35.01

* Rashawn Ross on Trumpet
+ Dave Solo

Taper: Crumbo
Location: Lower Pavillion Left, Row E, Seats 11 & 12
Source: AKG 480/ck63 (DIN, ~13') > V3 (analog out) > SD 722
Conversion: SD 722 > CDWav 1.94.4 > Wavelab 5.01b (resample, dither w/MegaBitMax) > xACT 0.5.7 (Level 6) > foobar2000 
Taper: Timothy Brown (timothydavidbrown@gmail.com)
Location: 5th Row, Right Stack
Source: SP-C4's (Cardioids, X/Y,  ~13')->PS2-AD20->JB3(Optical In)
Transfer: JB3->Firewire->Sony VAIO
Processing: Fade in and fade out applied using SoundForge 8.0
Conversion: CDWav 1.93.3 for track splitting; FLAC frontend 1.7.1 for Flac16 Conversion @ level 5

Disc 1 
01. Intro
02. One Sweet World *
03. Pig *
04. Grey Street *
05. Where Are You Going
06. Joy Ride *
07. Big Eyed Fish * ->
08. Bartender *

Disc 2
01. So Much To Say * ->
02. Anyone Seen The Bridge? * ->
03. Too Much *
04. Dancing Nancies * ->
05. Drive In Drive Out *
06. Hunger For The Great Light *
07. Break Free *

Disc 3
01. Louisiana Bayou *
02. Stay *
03. Sister +
04. American Baby Intro * ->
05. Two Step *

(*) with Rashawn Ross on Trumpet
+ Dave solo

Thanks to Drew M. for the tickets.
Thanks to Chris H. for driving and for the use of his stand.

Compiled on 6/22/06 on 95 North
Taper: Timothy Brown (timothydavidbrown@gmail.com)
Location: 5th Row, Just inside the Right Stack
Source: SP-C4's (Cardioids,-10db pad,A/B,~13')->PS2-AD20->JB3(Optical In)
Transfer: JB3->Firewire->Sony Vaio
Processing: Normalized to -1.0db (SF8.0), fade in and fade out applied (SF8.0)
Conversion: CDWav 1.93.3 for track splitting; FLAC frontend 1.7.1 for Flac16 Conversion @ level 5

Disc 1
01. Intro
02. Intro to...
03. Don't Drink the Water *
04. When The World Ends *
05. Pig *
06. Proudest Monkey *
07. Satellite *
08. Crash Into Me

Disc 2
01. Lie In Our Graves *
02. Hunger For The Great Light *
03. So Right *
04. Jimi Thing *
05. Grey Street *
06. Break Free *
07. So Much To Say * ->
08. Anyone Seen The Bridge? * ->
09. Too Much *

Disc 3
01. The Idea Of You *
02. Louisiana Bayou *
03. Sister [Dave Solo]
04. Dreaming Tree * ->
05. Ants Marching *

(*) with Rashawn Ross on Trumpet

Thanks to Allan Lee for the tickets.
Thanks to Erin for driving.
Thanks to Chris Howell for use of the stand.
Thanks to Jeff Mewbourn for use of the C4's.

Compiled on 6/28/06
Source: AKG 393s (DINa @ 10') > Segue Dogstars > Oade digi-modded UA-5 > optical > JB3 (> Segue Dogstars > SVU-2)
Location: Section 206 Row P Seat 27
Transfer: JB3 > 2.0 USB > Audacity > CD Wave > Flac Frontend > Flac (level 5)
Taped, Transfered, and Uploaded by: Kush

Disc 1				Length
01. Naga Pampa* ~> Rapunzel*	09:06
02. Granny			06:00
03. American Baby*		06:00
04. Where Are You Going		04:52
05. The Idea of You*		06:09
06. Grey Street*			05:08
07. Lover Lay Down* ~>		07:22
08. Lie In Our Graves*		15:29
			Total:	60:12

Disc 2
01. When the World Ends*		04:09
02. Hunger for the Great Light*	04:35
03. Grace Is Gone			15:37
04. Last Stop*			11:27
05. Digging A Ditch*		06:43
06. Everyday* ~>			09:00
07. Ants Marching*			07:41
08. Encore Break			05:38
09. Can't Stop			04:52
10. Louisiana Bayou*		07:58
			Total:	77:47

(* - w/ Rashawn Ross on Trumpet
Even though it consists of two CDs and a DVD, the latest live album by Dave Matthews is actually a teaser in a sense. Not that that's a bad thing. The Gorge, recorded over three nights in 2002, is easily Matthews' finest officially released live outing, even if you can get the entire run in a six-disc set for a very reasonable price through the band's website. This baby just whets the appetite. But does it ever. Matthews and company lay out 14 tracks, many of them less obvious choices than on previous outings. The music here comes from Before These Crowded Streets (a beautiful opening medley of "Pantala Naga Pampa" and "Rapunzel"; "Ants Marching" doesn't appear on the CDs at all, just the DVD footage!), "The Song Jane Likes" from Remember Two Things, and tracks from Busted Stuff, Crash, Everyday, and even Some Devil. The jams are tighter and rowdier; there's less hippie stuff and more honest to goodness musicianship and groove. And the version of "Gravedigger" here is as moving as it is on the studio outing. The singalong at the beginning of "Everyday," featured in a medley with "No. 36," is quite beautiful, not annoying like some similar moments on live records are. The more song-oriented first disc juxtaposes nicely with the more jam-oriented second, which features a smoking version of "Kit Kat Jam" and "Lie in Our Graves." The DVD showcases not only concert footage, but the "Grace Is Gone" music video and a documentary on the making of it, as well as an intimate look at the Gorge itself, a piece of environmental architecture that is an astonishing music venue and makes Red Rocks look paltry in comparison. Fans will have to have it, to be sure, but this might serve to turn others on to that particular brand of Matthews magic as well.

Doinker's notes:

David Bromberg and John Sebastian Soundstage in Chicago ca 1975, reel-to-reel audio from live TV broadcast 24 Bit Mastering at 48Khz *the best performance of Nobody's*

With some of the nice John Sebastian recordings now floating around, I thought I would include this one with David Bromberg. Tracks 1-7 are Bromberg with Sebastian, the rest are Sebastian with Bromberg.


Horrible John
Don't Put That Thing On Me
She Beg And She Mourn
I'm A Hog For Ya Baby
Guitar and Harmonica Duet
Friends Again
Instrumental With Harmonica
Did You Ever Have To Make Up Your Mind
You Didn't Have To Be So Nice
Do You Believe In Magic
Summer In The City (very end cut)

Lineage: First Generation Sony Trinitron TV -> Reel to Reel through stereo headphone jack ->Akai GX-400D SS ->Sound Forge 6.0 lite noise reduction and hum removal ->Flac Frontend level 6.


A DoinkerTape
Intro/Fiddle Medley
Roll On John
Fiddle Jam
Jugband Blues
Long Afternoons
Mr. Bojangles

Six Days on the Road
Tennessee Waltz
Mississippi Blues
Pink Snake Blues
Statesboro Blues
A Little Tenderness
Mr. Blue
Diamond Lil
When First Unto this Country
Intro/Da Doo Ron Ron
Key to the Highway
I Like It Like That
One Good Man
Fiddle Medley
I'll Keep Movin' On
Rock and Roll Millionaire
As the Years Go Passing Passing By
Send Me to the 'Lectric Chair
Danger Man
Yankee's Revenge Medley
Helpless Blues
Hit the Road Jack

Dennis McNamara announces that this is the last WLIR live broadcast of David Bromberg.  In fact, Bromberg was broadcast a few days later, August 23, 1980, at the Belmont Party In the Park (to be released separately).  

David Bromberg - Guitar
Jeff Wisor - Fiddle
Andy Stein - Fiddle
Rachel Gladstone - Vocals
Paula Lockhart - Vocals
John Firmin - Saxaphone
Peter Ecklund - Trumpet, Coronet
Curt Linberg - Trombone
Lance Dickerson - Drums
Danny Count - Bass
Party in the Park II

1. [07.32] Dennis McNamera Intro
2. [02.32] Cocaine Blues (Luke Jordan)
3. [06.30] Statesboro Blues/Churchbell Blues
4. [07.57] Travelin' Man

Sound: A
Show: A
Get Up and Go
Fiddle Tune
Demon in Disguise
First I Look at the Purse
Dying Crapshooter's Blues
Hey Hey Mama
Long Tall Mama
I'm a Fool for You
Will Not Be Your Fool
It's Over
Statesboro Blues

schoeps mk4's(ortf)>kcy>schoeps vms02>v3>dat
sony r300>spdif>terratec ews88mt>samplitude>cdwav>cdr/flac
normalized to 95% in samplitude 5.20

Disc 1:
01  Introduction
02  Don't Let Your Deal Go Down > Fiddle Tune Medley
03  I'll Take You Back
04  Sloppy Drunk
05  Make Me Down A Pallet On Your Floor
06  Fiddle Tune Medley

Disc 2:
01  If You Don't Want Me Baby  
02  Driving Wheel  
03  Statesboro Blues
04  Summer Wages  
05  New Song? > New Lee Highway Blues
06  Helpless Blues 
07  I'll Rise Again


Nancy Josephson, Gillian Welch, Emmylou Harris - Vocals
Jerry Douglas - Dobro
Sam Bush - Mandolin, Fiddle
Tim O'Brien - Mandolin

(2) Schoeps CCM5 > Lunatec V3 > Digigram VX-Pocket > Sony Vaio > 24bit/48k WAV

-mics run ORTF/FOB center on 7'stand and 25' in front of SBD area 
-source files resampled, dithered, edited and converted to 16bit/44.1k FLAC
WXRT broadcast

FM > low gen tape > wavelab > flac

01 Once in a lifetime
02 Making flippy floppy
03 The gates of paradise
04 Take me to the river
05 Fuzzy freaky
06 The listening wind
07 Dance on vaseline
08 A soft seduction
09 Miss America
10 Back in the box
11 Road to nowhere
12 Psycho killer
13 I zimbra
Title : Dreamer On An Island (from master DAT)[recorder 5]

Recorded by Dreamer
Extracted and mastered by Fresh
Artwork by Sir "Dali" Flying Pig

Lineage : Source : SONY DAT TCD-D100 > SOUNDMAN OKM-IIr

		     [Resampled via Motorola converter//EQ//Tube Simul//Multiband Compressor//Normalize]
	  	   > Protools 7 > WavLab [ EQ Waves //L2] > Wav > Audition 2 EQ for bass > TLH Flac 8 (ASoB) 
		   > Flac

Disc 1 :

	101 - Castellorizon.flac ( 3"44 )
	102 - On an Island.flac ( 7"55 )
	103 - The Blue .flac ( 5"55 )
	104 - The Great Gig In The Sky.flac ( 5"18 )
	105 - Happy Birthday.flac ( 0"46 )
	106 - Red Sky At Night.flac ( 3"29 )
	107 - This Heaven.flac ( 4"31 )
	108 - Then I Close My Eyes.flac ( 7"32 )
	109 - Smile.flac ( 5"00 )
	110 - Take A Breath.flac ( 6"40 )
	111 - A Pocketful Of Stones.flac ( 6"36 )
	112 - Where We Start.flac ( 7"43 )
		Total duration : 1'05"09

Disc 2 : 

	201 - Shine on You Crazy Diamond (interrupted).flac ( 8"48 )
	202 - Shine on You Crazy Diamond.flac ( 8"24 )
	203 - Band Introduction.flac ( 2"11 )
	204 - Wot's... Uh The Deal.flac ( 5"36 )
	205 - Wearing The Inside Out.flac ( 7"48 )
	206 - Fat Old Sun.flac ( 6"06 )
	207 - Breathe.flac ( 2"59 )
	208 - Time.flac ( 5"22 )
	209 - Breathe Reprise.flac (1"24 )
	210 - High Hopes.flac ( 9"10 )
		Total duration : 0'57"48

Disc 3 :

	301 - Echoes.flac ( 23"16 )
	302 - Wish You Were Here.flac ( 5"42 )
	303 - Comfortably Numb.flac ( 8"31 )
		Total duration : 37"29

Comments : 

	First of all many many thanks to Dreamer himself. This recorder made a preview release of his
recording two days after the show in lossy format. After having grabbed his lossy set, I decided to look for 
this taper on the internet because his original TXT mentioned the recording source was a DAT recorder. After 
a few hours of searching, I finally found him on a forum he used to go. This guy just did this recording for 
his own pleasure, as he's basically not a Pink Floyd geek like us. However, after a nice first contact chat 
on a messenger, he accepted to share the wav files. The extraction included a few problems because the DAT 
extraction was made a bit in a hurry, with the DAT plugged directly in an integrated soundboard. The 
recurrent problem was a big out of phase problem which created a sort of overhelming echoes around DG's 
vocals, keyboards and deep bass sounds. He sent me first his own extraction in wav form but the problem was 
the same as for the MP3, always that big out of phase problem.

	Explaining him the problem, Dreamer finally sent me directly the DAT itself, so I could proceed to 
another extraction with some dedicated hardware. This step of the making of was a rich experience for me, as 
I learn a lot too for my own. I would like to thanks a lot my friend Franck for everything he explained to 
me during that process too. As soon as that new transfer was done, I immediatly understood that Dreamer's 
first capture was bad, as the out of phase problem nearly completly disappeared. No more of that sort of 
numerical echo surrounding the recording, I was amazed and happy.

	I was present at this show, and I know there was a really annoying problem with the Olympia sound 
mastering: the bass was omnipresent during all the shows, and so was the main goal of a slight mastering. As 
you may have noticed in the lineage, the extraction hardware and filtering was outstanding and the rendering 
in the studio was nearly perfect. But as we are few to have such an audio hardware to correctly play this 
recording, the bass level remains too high for an enjoyable listening experience. Using Audition 2, I just 
Eq it a little more to drop down the bass level and cut the tracks. Mastering could have been deeper, since 
there are still light clicks remaining here and there, and near distorting sounds on the outstanding Echoes, 
but one of my first aims was to leave Dreamer's boot as raw as possible. Dreamer himself did not want me to 
make some changes in the spirit of his job, and was reluctant just for the bass drop. Being not that 
familiar with audio editing tools, I'd like to thanks all guys down the hubs and other places who give me a 
hand to understand basics of those tools.

	I totally have respected all the numerical chain with this mastering, and no lossy form was used 
during the process. I really hope all of you will enjoy it as much as I enjoy the fact to give something to 
this fabulous Pink Floyd community which made and still makes me discover such PF materials day after day. 
Thank you all for supporting me during that period (cheers to all "beta-listeners" for their advices).

	  	1 	  	Until We Sleep 	Gilmour 	 
  	  	2 	  	All Lovers Are Deranged 	Gilmour, Townshend 	 
  	  	3 	  	There's No Way Out of Here 	Baker 	 
  	  	4 	  	Short and Sweet 	Gilmour, Harper 	 
  	  	5 	  	Run Like Hell 	Gilmour, Waters 	 
  	  	6 	  	Out of the Blue 	Gilmour 	 
  	  	7 	  	Blue Light 	Gilmour 	 
  	  	8 	  	Murder 	Gilmour 	 
  	  	9 	  	Comfortably Numb 	Gilmour, Waters 	 

1.1 Until We Sleep 7:03
1.2 All Lovers Are Deranged 6:28
1.3 Love On The Air 6:11
1.4 Mihalis 10:19
1.5 Cruise 8:34
1.6 Short And Sweet 8:00
1.7 Money 12:07

2.1 Out Of The Blue 4:05
2.2 Let's Get Metaphysical 6:32
2.3 You Know I'm Right 8:27
2.4 Run Like Hell 7:24
2.5 Blue Light 9:32
2.6 Band Introductions 2:27
2.7 Murder 9:49
2.8 Comfortably Numb 10:20

David Gilmour - Lead Guitars and Vocals
Mick Ralphs - Guitars and Backing Vocals
Mickey Feat - Bass Guitars and Backing Vocals
Gregg Dechart - Keyboards and Backing Vocals
Raff Ravenscroft - Saxophones
Jodi Linscott - Percussion
Chris Slade - Drums


David Gilmour began the About Face tour with a brief appearance on British Television on March 30th, 1984, playing just two songs from his new 
album. This was followed the next day by the first full concert in Dublin, Ireland, at the National Stadium. Gilmour’s set consisted of a collection of the best songs from his two solo albums and, inevitably, a few Pink Floyd songs as well. The European leg of the tour consisted of 23 performances including 4 nights at the Hammersmith Odeon in London during which a concert video was recorded featuring a surprise guest appearance by Pink Floyd drummer Nick Mason. The group then went to North America where 48 more shows were played. Beginning in Quebec on May 9th, this part of the tour took the troop across the United States to California, back East to Florida and ended with a final performance on July 16th in New York City.

The show we bring you here was recorded in San Diego on June 20th, 1984, their first day in California. With an open air venue the sound will be a 
bit different than most audience recordings presented by PRRP. However, we feel that this performance shows David Gilmour and his solo band to be polished, versatile and a musical force in its own right; no small feat given the reputation of a band like Pink Floyd. The taper of this show remembers it well and provided us with the following details of that performance, “As for the mix, the way I taped that show was with a stereo Sony that had built in microphones. I used to hang it around my neck and let it hang around my chest area to get good lines with the speaker. If security would arrive, I would slightly lean one way or the other to keep the recorder out of view. You can hear the sound shift when I did that, but it is only brief and occasional. Since I was in the second row, I most likely got a bad mix anyway, monitors mostly, the PA system was too far on the sides to get the full blast of the mix. I remember that I had a great time. The show was phenomenal. Jody Linscott was just starting to show her pregnancy and Mick Ralphs just tore up his solos. My buddy went up and placed a one dollar bill on the stage right in front of David Gilmour as he was wailing away on (the song) Money, he broke his concentration briefly, looking up at our group and smiling with the head nod, it was a hi-five all around. To stand in front of Gilmour, 3 feet away, and watch this guy for two hours was a dream come true”.

There were those who were concerned that the departure of Roger Waters from Pink Floyd would leave that band without a stable musical driving
 force. With this year of solo work, David Gilmour answered those concerns and showed that even without Waters, Pink Floyd was still well endowed with musical talent and that they could carry on despite the loss of one of their most noted members. 

Notes from the Re-master

This show comes to us as a master cassette tape. It was digitized using 32-bit format and 24-bit resolution. Analysis revealed music signal up to 
11,000Hz. The complete show is here so no patches were necessary but the tape flips and change from tape 1 to tape 2 needed to be mixed. The taper provided us with the details regarding his location in the audience as noted above. Hiss was a moderate problem that was reduced using selective techniques. Crackle was also present throughout the show and needed separate techniques to be reduced. Given the frequency response of the recorder, the midrange was too harsh so filters were applied to reduce this excess. An imbalance between the two channels was present and a 12% correction was necessary. The mix does change through the show. During the first few songs the sound, and in particular the vocals are a bit distant even though we know the taper was in the second row. This improves by the time Cruise is played. Applause was attenuated where necessary and other noises such as feedback, clicks and pops were removed. The show was then tracked, converted to 16-bit and placed in audio format. 

-PRRP Staff

David Gilmour  	a01  	Until We Sleep  	0  	 	 	 	Lyrics
	David Gilmour 	a02 	All Lovers Are Deranged 	0 				Lyrics
	David Gilmour 	a03 	Love On The Air 	0 				Lyrics
	David Gilmour 	a04 	Mihalis 	0 				Lyrics
	David Gilmour 	a05 	Cruise 	0 				Lyrics
	David Gilmour 	a06 	Short and Sweet 	0 				Lyrics
	David Gilmour 	a07 	Money 	0 				Lyrics
	David Gilmour 	a08 	Out Of The Blue 	0 				Lyrics
	David Gilmour 	a09 	You Know I'm Right 	0 				Lyrics
	David Gilmour 	a10 	Run Like Hell 	0 				Lyrics
	David Gilmour 	a11 	Blue Light 	0 				Lyrics
	David Gilmour 	a12 	Murder 	0 				Lyrics
	David Gilmour 	a13 	Near The End 	0 				Lyrics
	David Gilmour 	a14 	Comfortably Numb 	0 				Lyrics
	David Gilmour 	b01 	Deep in the Blues 	0 				Lyrics
	David Gilmour 	b02 	Ah Robertson, Its You 	0 				Lyrics
	David Gilmour 	b03 	Why Do Fools Fall In Love? 	0 				Lyrics
	David Gilmour 	b04 	Walk Like A Man 	0 				Lyrics
	David Gilmour 	b05 	Dont Ask Me 	0 				Lyrics
	David Gilmour 	b06 	Big Girls Dont Cry 	0 				Lyrics
	David Gilmour 	b07 	Beutilful Delilah 	0 				Lyrics
Excellent FM stereo broadcast

1. Bob Harris intro
2. Castellorizon
3. On An Island
4. The Blue
5. Take A Breath
6. Smile
7. Shine On You Crazy Diamond
8. Wearing The Inside Out
9. Comfortably Numb
10. Bob Harris outro
11. Intro
12. Smile
13. Where We Start

David Gilmour - guitar, Phil Manzanera - guitar, Rick Wright - keyboards, Dick Parry - saxophone, Jon Carlin - keyboards, Guy Pratt - bass, Steve DiStanislao - drums

Tracks 11-13: Gilmour & Manzanerra, BBC 2, March 4, 2006
With special thanks to Dan Lynch who graciously permitted me to use his fine recording as a
patch for the first four songs that I missed when the box office kept me waiting over an hour to
locate my "missing" but paid for tickets.  I like the sound of Dan's recording as do some 1500+
of you.  I have not edited these tracks, nor played with their sound in any way.  I did this so you
will notice the difference when the recording switches at the start of track 5 from Dan's core
sound mic's to my Schoeps.  You will note some noise within the first ten seconds of Track 5 ...
that is me setting up my mic's as I arrived at my seat ... you are going to have to remember this
was a "stealth" recording, but you will not hear much hiss or crowd noise on my recording.

My second special thank you to my friend (who will remain nameless here, but he knows who he
is) who set me up with excellent seats 9 rows in front of the soundboard, directly on the center
line. You will definitely hear the stereo separation of channels on my recording.  Moreover, the
crowd was extremely mature and cooperative where I was sitting, thus there are very few unruly
disturbances in this recording.

This is a whole new world for me, thus the delay in getting this uploaded here at the Dime.  I've
invested in a whole bunch of new equipment, making the best sound I knew even better.  I've
moved up to the Sound Devices 744T hard drive recorder.  For those who don't know this is a
four track hard drive machine that records in 24 bit at 96 KHz.  What this means is that I have a
master recording that captures far more sound and quality than standard 16 bit recordings which
we are all accustomed to.  The downside is, that the quality of my new recordings exceed the
capacity of my old studio's computer, so I had to acquire a whole new computer for the studio
with which to process the recording.  This in turn led to a whole new learning process with
updated versions of software I had used for years ... (why can't they leave things somewhat
similar when you upgrade) ... anyway, after about two weeks of playing around, I have finally
figured out most of it and can now take the 24/96 recording and mix it down to a 16/44.1
recording for use in almost all consumer CD players, and most importantly, for upload here at the

(What I still don't know is how to make use of the 24/96 recording, other than to save it as data
on a DVD for my archive, as a backup.  My computer will not burn a 24/96 DVD, though I am
told it will make a 24/48 DVD that can play high quality sound on a consumer DVD player or a
computers DVD drive.  For those tech people still reading I need advice/suggestions on software
that will index/track & burn 24/96 or 24/48, for DVD listening, and so that I may also upload
such 24 bit tracks for those capable of using it  - please PM me with your ideas, suggestions, etc.)

Anyway here's the lineage:

CD1, Tracks 1-4:  Core Sound Cardiods > M-Audio Microtrack 24/96 > 16bit 44.1 .wav file >
Soundforge > CDWave (tracking) > Flac Frontend (level 7, align sector boundaries) > flac 

Recorded, Extracted and Edited by danlynch 2006-04-04 & downloaded by taperadvocat from
the Dime.

CD1, Tracks 5-11 & CD2: Schoeps CCM4's > SD744T > firewire to hard drive of dedicated
music only computer > Bit Conversion and re-sampled with Sound Forge 7.0 > indexed in Sound
Forge 4.5 > CD set up with CD Architect 4.5 > CD burned with CD Architect 5.0 onto 
Mitsui Gold CD > Extracted to Internet Capable Computer with EAC > FLAC

Recorded 9 rows FOB & DFC.

Recorded, Extracted and Edited by TaperAdvocat, uploaded to the Dime on April 15, 2006.

Hope you all enjoy this recording as much as I do.  Please let me know what you think.  And
most importantly, share it freely with your loved ones and friends. 

May those who try to sell or otherwise profit from my recording be cursed with all the bad karma
that you justly deserve.  This means you Middle Valley, VGP & all you other scum sucking
bootleggers who profit from my recordings.  We will find you and we will put you out of


Set One: 
01 Castellorizon 
02 This Heaven 
03 Smile 
04 Red Sky at Night 
05 Take a Breath 
06 Then I Close My Eyes 
07 On An Island* 
08 The Blue* 
09 A Pocketful of Stones 
10 Where We Start 
Set Two: 
11 Shine on You Crazy Diamond* 

12 Wearing the Inside Out 
13 Dominoes 
14 Fat Old Sun 
15 Breathe 
16 Time 
17 Breathe (Reprise) 
18 High Hopes 
19 Echoes 
20 Wish You Were Here 
21 Find the Cost of Freedom# 
22 Comfortably Numb 
This Heaven
Red Sky at Night
Take a Breath
Then I Close My Eyes
On an Island
The Blue
A Pocketful of Stones
Where We Start

Shine On You Crazy Diamond
Wearing the Inside Out
Fat Old Sun
Time/Breathe reprise
High Hopes

Wish You Were Here
Find the Cost of Freedom
Comfortably Numb

PinkRoioShn - CDR-001 (PRS-CDR-001)

Master Audience Recording
Orchestra Row G Seat 707

Core Sound Cardiods > M-Audio Microtrack 24/96 > 16bit
44.1 .wav file > Soundforge > CDWave (tracking) > Flac 
Frontend (level 7, align sector boundaries) > flac

This recording is dedicated to the members of the Pinkroioshn direct connect hub.  
These collectors represent the most knowledgeable and generous fans of the music 
of the Pink Floyd.  They share their precious time, energy and experience to bring 
the free share of live audio and video to collectors worldwide.  Of special note are the 
three excellent hosts that Pinkroioshn has had in its 5 years of existence: madcapjv, 
orangemaze, and Arnold_Layne.  Among the many valuable members of this Hub are 
the producers of the following fan labels:  Household Objects, Pigs On the Wing, 
Antmoon5, FurryAnimal [FA], Highest Hopes, CS Productions, Wojtek's Page Of 
Bootlegs, MB-DVD, beerlover, LS, Relics Records, FOP, The AK Revision Series, 
buffalofloyd releases, The Fireman's Tapes, and many others.

Pinkroioshn is also the home base of the founder of the primary Pink Floyd bit torrent 
tracker on the web: yeeshkul.com

Special Thanks also to the generous members of the In Floyd We Trust Hub 
(IFWT) - pinkfloydhub.no-ip.org, for their share of all the Europe shows of this tour.

Recorded, Extracted and Edited by
danlynch 2006-04-04
David Gilmour
Core Sound Cardiods > Sound Pro. Preamp > Gmini 402 > Pc

Soundforge 7 & cdwav for editing and fades etc...

Disc 1 - Set 1:

01. Castellorizon [4:00]
02. On An Island [7:57]
03. The Blue [6:02]
04. Red Sky at Night [3:37]
05. This Heaven [4:35]
06. Then I Close My Eyes [11:35]
07. Take a Breath [7:14]
08. Smile [4:35]
09. A Pocketful of Stones [6:41]
10. Where We Start [7:53]

Set 2:

01. Shine On You Crazy Diamond Pt.1-5 [12:07]

Disc 2:

02. Wearing the Inside Out [8:57]
03. Coming Back to Life [7:04]
04. Dominoes [5:27]
05. Breathe [3:17]
06. Time [5:25]
07. Breathe (Reprise) [1:29]
08. High Hopes [9:55]
09. Echoes [25:03]

Disc 3 - Encores:

01. Wish You Were Here [5:42]
02. Comfortably Numb [9:33]

I removed some of the audience noise before the encores to fit on 2 Discs.
Taped/Transferred/Seeded By:

FOB > ROW HH Center > Neumann Ak40/lc3/Km 100's (DIN) > 
Sound Devices MP 2 w/80khz Bass Rolloff > Sony M1 @ 48k

Sony M1 > Vx Pocket 440 > Toshiba 3480ct > 
Wavelab 4.0 (Resampled to 44.1) > Cd Wave > FLAC

Disc 1/Set I:
1. Breathe >
2. Time >
3. Breathe Reprise
4. Castellorizon
5. On An Island 
6. The Blue
7. Red Sky At Night
8. This Heaven
9. Then I Close My Eyes
10. Smile
11. Take A Breath
12. A Pocketful Of Stones
13. Where We Start

Disc 2/Set II:
1. Shine On You Crazy Diamond pt.I-V
2. Wearing The Inside Out
3. Fat Old Sun
4. Arnold Layne  
5. Coming Back To Life
6. High Hopes
7. Echoes

Disc 3
1. Wish You were Here
2. Comfortably Numb

01. Speak To Me >
02. Breathe >
03. Time > Breathe Reprise
04. Castellorizon
05. On An Island
06. The Blue
07. Red Sky At Night
08. This Heaven
08. Then I Close My Eyes
10. Smile
11. Take A Breath
12. A Pocketful Of Stones
13. Where We Start


01. Shine On You Crazy Diamond
02. Wearing the Inside Out
03. Fat Old Sun
04. Arnold Layne
05. Coming Back to Life
06. High Hopes
07. Echoes


01. Wish You Were Here
02. Comfortably Numb

Nuemann KM140s (fob/floor) > Sound Devices MP2 > Sony SBM1 (48k) > Sony D7
DAT master > HHb CDR830 > EAC/wavlab > FLAC
SOURCE: Schoeps MK41 > actives > NBox > (Oade mod) SBM-1 > D100
TRANSFER: D100 > Teac RW-CD22 > hard drive > Sound Forge 8.0 > CD Wave > FLAC Frontend
LOCATION: Center Mezzanine, Row D
RECORDED BY: "Josephine" 

Photographs taken and kindly provided by my buddy "boots4me" (Copyright Eddie Spinelli).


01. Breathe
02. Time
03. Breathe (reprise)
04. Castellorizon
05. On an Island (w/ David Crosby & Graham Nash on backing vocals)
06. The Blue
07. Red Sky at Night
08. This Heaven
09. Then I Close My Eyes
10. Band Introduction
11. Smile
12. Take a Breath
13. A Pocketful of Stones
14. Where We Start



01. Shine On You Crazy Diamond (I-V) (w/ David Crosby & Graham Nash on backing vocals)
02. Wearing the Inside Out (w/ Richard Wright on vocals)
03. Fat Old Sun
04. Arnold Layne
05. Coming Back To Life
06. High Hopes
07. Echoes



01. Wish You Were Here
02. Find the Cost of Freedom (Capella version with David Crosby, Graham Nash & David)
03. Comfortably Numb

~ Dedicated to my son Jack ~
Sonic Studios DSM-6>PA6-XP>Microtrack>Sound Forge>CD Wave Editor>FLAC Level 8

1. Breathe>
2. Time>
3. Breathe (Reprise)
4. Castellorizon
5. On An Island (with David Crosby & Graham Nash)
6. The Blue (with David Crosby & Graham Nash)
7. Red Sky At Night
8. This Heaven
9. Then I Close My Eyes (with Robert Wyatt)
10. Smile
11. Take A Breath
12. A Pocketful Of Stones
13. Where We Start

1. Shine On 1-5 (with David Crosby & Graham Nash)
2. Wot's...Uh The Deal
3. Intros
4. Wearing The Inside Out
5. Coming Back To Life
6. High Hopes
7. Echoes

1. Wish You Were Here
2. Find The Cost Of Freedom (with David Crosby & Graham Nash)
3. Arnold Layne (with David Bowie)
4. Comfortably Numb (with David Bowie)
Sound Professionals CMC4 - battery box - SB Audigy 2 ZS - CDwave 48khz, 24 bit

Set 1:

01.	Breathe
02.	Time
03. Breathe reprise
04. Castellorizon
05. On An Island
06. The Blue
07. Red Sky at Night
08. This Heaven
09. Then I Close My Eyes
10. Smile
11. Take a Breath
12. A Pocketful of Stones
13. Where We Start

SET 2:

01. Shine On You Crazy Diamond
02. Astronomy Domine
03. Dark Globe
04. Fat Old Sun 
05. Coming Back to Life
06. High Hopes 
07. Echoes
08. Wish You Were Here 
09. Comfortably Numb

It was an excellent concert and here is an excellent recording for you.

Unfortunatelly I was busted during the first set by security. I had to take off my mics at the end of "Then I Close My Eyes", but
the recording was not stopped. I moved to an another position during the begining of Smile and positioned again my mics.

This release was first shared simultaneously on YEESHKUL tracker and PINKROIOSHN hub. 
Thanks to those communities that share the live PF sound for free!
http://pf-db.com/signup.php (pinkroioshn)
A collection of live performances and concept videos around the time of the 1984 solo album release of David Gilmour. Quality varies a bit, but overall is excellent for material of this vintage. Running time is 75 minutes, and features the following tracks:

There’s no way out of here
So far away
No way
I can’t breathe anymore
Rockestra rehearsal
Dave’s ski trip
The Tube ‘84
ET Tour ‘84
Love in the air outtakes ‘84
Les Paul tribute
Lie for a lie promo clip

This region-free DVD-R is in NTSC format and will play on most PS2 systems and DVD Players made since 2000, and comes in a FULL SIZE DVD case, with cover art and track listing.

	1 	  	Shine on You Crazy Diamond, Pts. 1-5 	Gilmour, Waters, Wright 	 
  	  	2 	  	Terrapin 	Barrett 	 
  	  	3 	  	Fat Old Sun 	Gilmour 	 
  	  	4 	  	Coming Back to Life 	Gilmour 	 
  	  	5 	  	High Hopes 	Gilmour, Samson 	 
  	  	6 	  	Je Crois Entendre Encore 	Bizet 	 
  	  	7 	  	Smile 	Gilmour 	 
  	  	8 	  	Wish You Were Here 	Gilmour, Waters 	 
  	  	9 	  	Comfortably Numb 	Gilmour, Waters 	 
  	  	10 	  	Dimming of the Day 	Thompson 	 
  	  	11 	  	Shine on You Crazy Diamond, Pts. 6-8 	Gilmour, Waters, Wright 	 
  	  	12 	  	A Great Day for Freedom 	Gilmour, Wright 	 
  	  	13 	  	Hushabye Mountain 	Sherman 	 
  	  	14 	  	Dominoes 	Barrett 	 
  	  	15 	  	Breakthrough 		 
  	  	16 	  	Comfortably Numb 	Gilmour, Waters 	 
David Gilmour
Live From Abbey Road PAL DVD

Abbey Road Studio

Recorded 29th August 2006
Broadcast 6th March 2007


Interview #1
Take A Breath
Interview #2
Interview #3
On An Island

Lineage: DVB Digital Terrestrial TV -> PC DVB-T Card -> HD -> DVD 

Hauppauge Nova-T DVB-T Card 
MyTheatre Record Stream
PVAStrumento to demux original stream
Cuttermaran 1.66 To Edit
DVD Lab Pro To Author

Video: 2.8Mbit/s (avg) 704x576 16:9 PAL MPEG-2 (original broadcast bitstream) 
Audio: 192kbps/48Khz Stereo MPEG-1, Layer II (original broadcast bitstream) 
Pro-Shot or Audience shot : Audience
Stand Alone or PC : PC
Aspect Ratio: 16:9
Sample Rate: 8 MBps VBR
Audio: LPCM
Menus : PC Authored
Artwork: n/a
Video Quality: 6
Audio Quality: 7

To launch his new 'David Myers Plays MORE Genesis' CD, David Myers
(keyboard player for The Musical Box) and Martin Levac (drummer for
The Musical Box until 2007 and back with his band Turn It On Again)
performed a wonderful evening of Genesis music in this intimate
setting. Please show your appreciation by supporting these artists
through their performances and products.

davidmyers.ca turnitonagain. com themusicalbox. net

A BTN (Better Than Nothing) Production. The first minute was affected
by dirty heads (?). Low light and obstruction gave auto-focus
continual grief; fortunately I was able to adjust as the show
progressed. Rev A: filter out the noise during the first minute.


Medley (Lamb/Cage/Battle/ Colony
/Anyway/ TMB/ Back in NYC/ Squonk/ Seven
Stones/ Grand Parade/ Hogweed/ Anyway 2/ Supper's/ Supper's 2/ Get Em
Colony 2/ Behind The Lines/ Hogweed 2/ Where The Sour/ Lamia/ time
Apocalypse/ Can Utility)
Firth Of Fifth
Blood On The Rooftops
Robbery, Assault and Battery
Burning Rope
Follow You, Follow Me
One For The Vine


Watcher Of The Skies
After The Ordeal
Fountain Of Salmacis
Mad Man Moon
Trick Of The Tail
Cinema Show
Evidence Of Autumn

John Ramsey Signature Series Binaural Microphones (audioreality. com)
+ Canon Elura 100 (SP, 16:9, 16-bit audio) -> Firewire -> Nero Vision
4 capture (DV Type 1 AVI) & export (8 mbps VBR, LPCM) -> Sonic DVDit 6
(8 mbps VBR, LPCM) 
David S. Ware ts
Matthew Shipp p
William Parker b
Whit Dickey dr

1) 32:02
2) 19:01
3) 05:48
4) 13:37 Aquarian Sound
5) 31:536
6) 13:56 Autumn Leaves

Lineage/Source: Sony ECM155 – Sony DAT – Denon CDR 1000 – HD – flac - dime 
David S. Ware- (Tenor Sax), 
Matthew Shipp (piano), 
William Parker- (Bass), 
Susie Tbarra- (Drums)

01. Into 2:27,  
02. Preseulation 36:49, 
03. Autumn Leaves 23:48, 
03. The Liberaba 7:03



Great sound, great playing.  I don't know if What Means Solid Traveler or Tripping Over God
are still in print, but if you like those you'll love this.

Disc 1
Red Beast

Disc 2
In The Flesh?
The Thin Ice
Another Brick On The Wall Pt. 1
The Happiest Days of Our Lives
Another Brick In The Wall Pt. 2
Goodbye Blue Sky
Empty Spaces
Young Lust
One Of my Turns
Don't Leave Me Now
Another Brick In The Wall Pt. 3
Goodbye Cruel World

Disc 3
Hey You
Is There Anybody Out There
Nobody Home
Bring the Boys Back Home
Comfortably Numb
The Show Must Go On
In The Flesh
Run Like Hell
Waiting For The Worms
The Trial
Outside The Wall

Disc 4
I See You Baby (Shakin That Ass)
Daves Nightmare
Not So Sober
Burnin Down The House
L. A. Woman

Steadier Footing
A Movie Script Ending
For What Reason
We Laugh Indoors
Why You'd Want to Live Here
Information Travels Faster
Company Calls
Coney Island
Pictures in an Exhibition
Here Comes the Rain Again
Blacking Out the Friction
Fake Frowns

We Have the Facts and We're Voting Yes
Company Calls Epilogue

Sound: A-
Show: A
Lollapalooza show

A Movie Script Ending
The New Year
Title and Registration
Soul Meets Body
We Laugh Indoors
I Was a Kaleidoscope
Crooked Teeth
Expo '86
Company Calls
Styrofoam Plates
The Sound of Settling
encore break
Tiny Vessels

Taped by Richard Simms. There is some bleedthrough from the Widespread Panic show on the other end of the park. There is moderate crowd noise, and a crappy mix from the board.
[[On Ratings]]
Higher Love
Policy Of Truth
Walking In My Shoes
I Feel You
Never Let Me Down Again
In Your Room
Personal Jesus
Enjoy The Silence
Everything Counts

Either FM or Soundboard

Sound: A
Show: A-
Got to Get Better in a Little While
Key to the Highway
Tell the Truth
Why Does Love Got to Be So Sad?
Blues Power
Have You Ever Loved a Woman
Bottle of Red Wine
Presence of the Lord
Little Wing
Let It Rain

Eric Clapton ~ guitar, vocals
Bobby Whitlock ~ keyboards, vocals
Carl Radle ~ bass
Jim Gordon ~ drums
Lineage: bootleg CD-R > EAC > xACT(flac  compression level 8, verification, fingerprint creation) > flac

Seventh Wave
Bad Devil
Hide Nowhere
Velvet Kevorkian
All Hail the New Flesh
Home Nucleonics
Oh My Fucking God
In the Rainy Season
Far Beyond Metal
Fake Punk
Happy Camper

additional track - Suckerpunch w/ the Wildhearts at Akasaka Blitz, Tokyo on Oct. 22, 1988
Unknown venue & tracklist

Received in trade
Source: Soundboard > Denecke AD-20 > Marantz PMD670 > Compactflash Card

Transfer: Compactflash Card > Audacity > CD Wave Editor > Flac Frontend


01. New 1 (no title yet)
02. Qunnl
03. The Smallest Chilean
04. Plankton and Krill
05. What is Your Landmass?
06. Song You Hate
07. Maria, Which Has Had Her Heart Completely Fucked Up
08. Colby
09. Lone Tree Point
10. New 2 (no title yet)
11. Puma
12. Antars Beauty Supply


13. Building a Playpen
14. At the Mercy of the Mustang

Sound: A
Swedish FM broadcast > Philips CDR765 > Adobe Audition > dBpowerAMP Music Converter 11.0

Didier Lockwood (violin)

Mads Vinding Trio;
Olivier Antunes (piano)
Mads Vinding (bass)
Morten Lund (drums)

1. unknown tune by John Abercrombie  12:16
2. Someday my prince will come  15:13
3. What is this thing called love  11:19
4. (Song dedicated to NHOP)  12:45
5. Flat blues  12:48

TT 64:23
Dino Saluzzi, bandoneon
Anders Jormin, b


1. And He Loves His Brother Till The End
2. Alfoncina y el Mar
3. Gorrión
4. Lustrin
5. Rado de Nube

TT: 43:07

Source: Digital Satellite -> raw data to HDD -> ProjectX -> TMPGEnc DVD Author -> Video_ts;
two audio tracks:
primary: 2 channel MP2@256, secondary: AC3@384

No conversion of any kind - this is the actual very hq broadcast signal! 
Wakarusa Music & Camping Festival - Sun Down Stage
Source: DPA 4011 > V3 > D8 (FOB-DFC-DIN) Lineage: Conner CTD8000 > DAT2WAV > SoundForge > Samplitude > CDWave > FLAC16 Taped by: Steven Propp Transfered by: Eric Foelske; 

Charlie Dee 
It Ain't Whatcha Think
Remember When
We Got Robbed
Use Your Brain
Pet De Kat
Big Chief
Feet Don't Fail Me Now 
Taped By: George Ewing (gewing@tapers.org)

Source: Sansom c02 > M-Audio Pre > Dell D800 > Sound Forge

Set I (Disc 1)

1. Banter
2. Commercical Amen
3. Jigsaw >
4. 42
5. Crystal Ball
6. Home Again

Set II (Disc 2)

1. Banter
2. Overture
3. Vassilios >
4. The Great Abyss >
5. Jigsaw
6. Spacebird
7. Reactor

(disc 3)

1. Encore Break
2. Have a Cigar * (Encore)
3. Bernstein and Chasnoff (Encore)

* Pink Floyd cover
Reviewed by Jerimiah33
Taper: John Dewey (hammerhorror)
Uploader: John Dewey (hammerhorror)

Source: Neumann SKM140's DIN  > LC3 Active Cables > KM100's  > Sound Devices 702 @ 24/48 (dithered to 16/44.1 in Adobe Audition for this upload) 

Conversion: Sandisk Ultra II 8GB Compactflash Card > Sound Devices 702 firewire out > Adobe Audition > CD Wave Editor > Flac Frontend

01. Introduction
03. I Agree..... No!..... I Disagree
04. Mmmmm Acting, I Love Me Some Good Acting
05. And And And, He Lowered The Twin Down 
06. New Song
07. June Is Finally Here
08. New Song
09. Palm Trees In The Fecking Bahamas
10. Cold Knees (In April) 

Enjoy the show...
Florida Vacation
Murdering Oscar
Whiskey And You
Rob Me Blind
The Range War
I'll Play Angel
Back In The Woods
Uncle Disney
Long Black Veil
Heavy And Hanging
The 4:05
Soothe Me
Black Creek Water
Nine Bullets
Why Do Lonely Men And Women Want To Break Each Other's Hearts?
Uncle Raymond
Back Of A Bible
Cocaine Parties
Goddamn Lonely Love
Only Daddy That'll Walk The Line
I'm In Love With A Girl
Strange Faith
My Sweet Annette
Both Our Towns
Werewolf Moon
Puttin' People On The Moon
White Lies, Blue Tears
Bulldozers And Dirt

Tsunami Relief Benefit
Don Chambers - banjo, guitar, vocals
Patterson Hood - guitar, vocals
Dave Marr - guitar, vocals
John Neff - pedal steel guitar, vocals
Brad "The EZB" Morgan - snare drum


Philip McArdle - guitar
Jason Isbell - guitar, vocals
Mike Dillon - vocals
Shonna Tucker - guitar, vocals
Source: SBD > D8
Transfer: D8 > Edirol UA1D > SF50 > CDWAV >FLAC

Taped, transferred by Jason Espie


01 Way Back When
02 Living in Babylon
03 Funkyside
04 Diamond in the Rough
05 Love and Gasoline
06 40 Days & 40 Nights
07 I Don't Need a Riddle
08 Positive Friction
09 Family Picture
10 Everyday
11 Rock of Ages
12 Killing a Man


01 Blue Sky
02 Rocking Horse
03 Broken Record
04 These Are Better Days
05 Pancho & Lefty
06 New Tara (Debut) (I'll Move On or I'll Get By?)
07 Mystic Water
08 No Place Like the Right Time
09 On Our Way On (Jeb, Tara, Kathy)
10 Part Time Lover
11 If You Only Could

Movin' On
Living In Babylon
Positive Friction
Tides Of Time
Push Comes To Shove
Rock Of Ages
Pretty Boy Floyd
Don't Leave Me Behind->
Family Picture
Big Parade
The Mill
This Goes
Blue Skies
40 Days & 40 Nights
No Place Like The Right Time
Me & Depression
Two More Bottles Of Wine
Life's A Ride
Conscious Evolution
Like The Coming Sun
Part Time Lover
In This Life
Tides Of Time
These Are Better Days
Ancient Arms
Conscious Evolution
Blue Skies
Tonight The Bottle Let Me Down
Tee Black
Positive Friction
No Place Like The Right Time
40 Days & 40 Nights
Pancho & Lefty
Family Picture
Greatest Love Of All
Voice In My Head
Rock Of Ages
Funky Side

Give Me Just A Little Time 

Sound: A-
Show: A-
01) Zip City
02) Lookout Mountain
03) Decoration Day
04) Winter Wonderland
05) Love Like This
06) Too Much Sex, Too Little Jesus
07) Outfit
08) Where The Devil Don't Stay

01) Murdering Oscar
02) When The Pin Hits The Shell
03) Do It Yourself
04) Danko/Manuel
05) George Jones Talkin' Cellphone Blues
06) Uncle Frank
07) Goddamned Lonely Love
08) The Company I Keep
09) Little Pony And The Great Big Horse
10) Never Gonna Change
11) The Day John Henry Died
12) Tales Facing Up
13) Bulldozers And Dirt

Private show for DBT family and friends (acoustic)
Taped and transferred by Chris Pennington
Where the Devil Don't Stay, Sinkhole, Decoration Day, Give Pretty Soon, Careless, Sounds Better in the Song, Daddy's Cup, Lookout Mountain, Lonely Love, Day John Henry Died, Sweet Annette, Demonic Possession
Set 2 

Marry Me, Carl Perkins Cadillac, Dead Drunk and Naked, Guitar Man Upstairs, Never Gonna Change, Boys from Alabama, Cotton Seed, Outfit, Women w/o Whiskey, Let there Be Rock
Set 3 

Encore: Wrong for all these Years, Zip City, Play it All Night Long, Plastic Flowers, Buttholeville, Sandwiches for the Road, Putting People on the Moon

SBD + AKG c2000 > MP2 > DA-P1 (Roy Shuler) 
Disc One:
Buford Stick
Never Gonna Change
The Tough Sell
Sounds Better In The Song
Sink Hole
Decoration Day
Goddamn Lonely Love
Marry Me
Carl Perkin's Cadillac
Sands Of Iwo Jima

Puttin' People On The Moon
Daddy's Cup
Company I Keep
The Day John Henry Died
Living Bubba
Lookout Mountain
Grandaddy (New Song, Patterson alone)
(full band back onstage) Play It All Night Long
The Outfit
Zip City
Let There Be Rock
source: SBD > [matrix XLR outs] > Apogee Mini-Me (16-bit/48 kHz) > Sony PCM-M1
transfer: Sony 59ES > M-Audio USB > Dell Inspiron 5100 > Wavelab 4.01 > CD wave 1.91 > flac 1.1.2

Set I:
01. tuning..intro...
02. Sink Hole
03. The Buford Stick
04. Where the Devil Don't Stay
05. Dead Drunk and Naked
06. Guitar Man Upstairs
07. Decoration Day
08. Putting People On the Moon
09. Pizza Deliverance
10. Goddamn Lonely Love
11. Outfit
set II:
12. Daddy's Cup
13. Zip City
14.Life In the Factory
15. Lookout Mountain
16. Bulldozers and Dirt
17. Tails Facing Up
18. Women Without Whiskey
19. crowd
01. crowd
02. The Living Bubba
03. Never Gonna Change
04. Marry Me
05. Nine Bullets
06. Carl Perkins' Cadillac
07. Let there Be Rock
08. Shut Up and Get On the Plane
Source: schoeps mk2s>kc5>oade m118>mme>da-p1 
Location: front of TS/DFC split 5'
Transfer: dap1>stand alone>eac>cd wave>flac
Taped by: Ricky Skaggs
Transferred by: Craig Davis

One Set
Disc 1:
01 Intro/tuning
02 Lookout Mountain
03 Gravity's Gone
04 Never Gonna Change
05 Tales Facing Up
06 Daddy's Cup
07 Feb. 14
08 Decoration Day
09 Putting People on the Moon

Disc 2:
01 Space City
02 Bpx of Spiders
03 Easy on Yourself
04 Aftermath USA
05 Women Without Whiskey
06 Outfit
07 World of Hurt
08 Shut Up and Get on the Plane
09 Let There Be Rock
(clamped to the balcony rail) Neumann U89i (subcard, split 4ft, -80h)>
V2> Minime> ODL-312> JB3.

JB3> (firewire) Cool Edit Pro 2 (fade in/out, hard limit)> CD Wave 
(tracked)> Flac.

Recorded by Ed Guidry 
Help I'm a Rock
Hungry Freaks Daddy
Let' Make the Water Turn Black
Florentine Pogen
Pygmy Twylite
The Idiot Bastard Son
King Kong Variations
Don't Eate that Yellow Snow
St. Alphonzo's Pancake Breakfast
Father O'Blivion
Inca Roads
The Black Page

Peaches en Regalia
Village of the Sun
Echinda's Arf
Zomby Woof
Sofa No. 2
Camarillo Brillo
The Orange County Lumber Truck
More Trouble Every Day
A Token of His Extreme
Cosmic Debris

possibly the best-sounding audience recording i've ever heard. beats a lot of broadcast and soundboard sources. incredible.
Disc 1 
01. Imaginary Diseases
02. Hungry Freaks Daddy 
03. Let’s Make the Water turn Black 
04. Florentine Pogen 
05. Pygmy Twylite 
06. The Idiot Bastard Son 
07. Cheepnis 
08. King Kong Variations 
09. Don’t Eat that Yellow Snow 
10. St. Alphonzo's Pancake Breakfast 
11. Father O'Blivion 
12. Inca Roads 
13. Eat That Question 

Disc 2 (62'36") 
01. The Black Page # 2
02. Peaches En Regalia 
03. Montana 
04. Village of the Sun 
05. Echinda’s Arf 
06. Zomby Woof 
07. Chunga’s Revenge 
08. Oh No 
09. Son Of Orange County 
10. More Trouble Every Day /A Token of His Extreme 
11. Sofa #2

Audience recording: Sennheiser MKE2>Sharp MT290>Soundforge>Flac

Source:  M[DAT] > FLAC
Length:  164  minutes   

Recording Information:  Sony ECM-719 > Sony TCD-D7
Location:  Section A, Row L, Seat 3  
Transfer:  Sony DTC-A7 > Digital Coax > M-Audio Audiophile > Firewire > CEP 2.1 > WAV

Recorded at 16/48.  Downsampled to 16/44.1 using CEP 2.1

FLAC Conversion:  WAV > TLH FLAC 8  > FLAC

Mastering and editing performed using CEP 2.1 and CDWAVE 1.95

Recorded by sydb

DAT transfer, mastering, and FLAC conversion by sydb

101  Improvisation
102  My Guitar Wants To Kill Your Mama
103  City Of Tiny Lights
104  Montana
105  Carolina Hardcore Ecstasy
106  I Am The Slime
107  Advance Romance
108  Dumb All Over
109  What's New In Baltimore?
110  Pygmy Twylyght

201  Dupree's Paradise
202  Rudy's Going To A Concert
203  Uncle Remus
204  Willie The Pimp
205  Joe's Garage
206  Wind Up Working In A Gas Station
207  San Ber'dino
208  Illinois Enema Bandit
209  Wild Love
210  Yo Mama

301  Cosmik Debris
302  G-Spot Tornado
303  Muffin Man

Having now seen this band twice in the past year, and hopefully again on Halloween, I can now say I have become a fan of Frank's music.  Dweezil and his band do a fantastic job of representing Frank's compositions.

The show it self was fantasic.  Highlights for me were 'Pygmy Twylyght' and all of the songs where the effortlessly synched up with audio and video footage of Frank playng and singing along with the band.  But to be honest this show is worth it for just 'Pygmy Twylyght.'  Dweezil absolutly does an amazing job with his solo for this, lasting nearly seven minutes.  He would have made his dad proud.

The band played on a slowly rotating stage which is referenced a few times during the show.  Thankfully there were speakers placed all around the top of the stage and my mics were pointed almost directly at them.  The recording turned out great, perhaps my best ever.  The crowd was very quiet and cooperative around me.  A few drunkards can be heard in between songs from other areas of the theatre, but they do not ruin this recording in any way.

Enjoy the show!

Special Guest Ray White on tracks 103-110, 201-208, 301-302

Frank Zappa on vocals and lead guitar on tracks 104, 108, 301, and 303

Artwork courtesy of my friend beerlover

Sound:  EX+
Overall:  9/10 


SOURCE: SBD MASTER>Reel Machine>Master Reel>trade>CD>EAC Secure Modus>Flac Frontend Level 6>Flac
SOUND: A (overall hiss is present…otherwise great sound, listen to mp3 sample)

Eberhard Weber: bass
Rainer Brüninghaus: piano, synth
Charlie Mariano: ss, as, fl
John Marshall: drums

1. Eyes That Can See In the Dark (Weber) 20.11
2. Seriously Deep (Weber) 16.52
3. Bali (Brüninghaus) 12.37
4. Sandglass (Weber) 20.34

01. Often In The Open (aka "Workshop I") [24.17]
02. Maurizius (aka "Kotulla") [14.53]
03. Death In The Carwash (aka "Workshop II") [20.06]

Eberhard Weber: bass
Bill Frisell: guitar
Paul McCandless: reeds
Lyle Mays: piano
Michael DiPasqua: drums

Circulates as 03/26/83, but this date is correct.

Studio 10, Funkhaus des NDR, Hamburg, Germany. 
This concert and broadcast was held at the conclusion of several days of workshops, 
part of the series (no. 168) held by Norddeutscher Rundfunk. 
The concert concluded with 3 more pieces not on this recording: 
Sand, Tod In Der Waschstrasse & Yellow Fields. 

Titles are declared by Eberhard Weber as "St?cke, die noch keinen Titel haben." ("Compositions without titles")

The compositions were performed and recorded one month later again, for 'Later That Evening' on ECM (ECM 1231).
(NDR Jazz Workshop)
SOUND: A+ (Excellent FM, listen to mp3 samples)

Eberhard Weber: bass
Paul McCandless: ob, fl, ss, eH, bcl
Bill Frisell: el-guitar
Lyle Mays: piano
Michael DiPasqua: drums
Mario Castronari: perc
1. Workshop 1: 23.10
2. Mauritius: 14.32
3. Workshop 2: 19.50 (fade out by Radio Announcer Michael Naura)

1.  0:00:00  Track 1
2.  0:12:41  Track 2
3.  0:24:25  Interview E.Weber/R.Brüninghaus (german)
4.  0:31:48  Track 3
5.  0:53:02  Track 4
6.  1:00:35  Interview H.Robertson/D.Bargeron (english w.german voice-over)
7.  1:04:25  Track 5
8.  1:10:46  Track 6

Eberhard Weber - b
Rainer Brüninghaus - keyb
Herb Robertson - tp
David Bargeron - euphonium

TV (Cable) -> VHS (1.gen.) -> DVD-Burner (HDD->DVD)
good, sometimes very good quality - no major faults

No title menu
This show was b/c live on french radio at the time. Bernard Lenoir  (now famous for his 'black sessions') 
hosted the show called 'feedback'.
I have not removed all the french comments...although it's quite annoying...i got that tape circa 1993 / 1994 
and made quite few copies to people i was trading with...
It's a good show probably featuring the first french Echo performance...??

Lineage info
Master tape (LVN taped this program) > my tape (tdk sa) > analog cables > soudforge 6.0 > wav > flac

01 Pride
02 Over The Wall
03 Rescue
04 Zimbo
05 Heaven Up Here
06 Pictures On My Wall
07 Villiers Terrace
08 All That Jazz
09 Happy Death Men
10 Crocodiles

overall lenght = 42m
67 degrees
Suffocating the Bloom
As the World
The Cheese Stands Alone
Sweet Thing
Never the Same
Carpe Diem
Were opening act for Transatlantic

1.  Intro - Mr. Oxy Moron - Brittany
2.  Gray Flannel Suits
3.  Human Lottery
4.  The Cheese Stands Alone
5.  Swingin' The Axe
6.  Texas Dust
7.  American Vacation Tune
8.  A Little Nonsense
A SwissBird , SimplexSimplicissimus & superMAX release: 

Soundboard > DAT > 1st copy > eac > wave > flac frontend 
(align on sector boundaries Level 8) > 
torrent on www.dimeadozen.com

Size : 527 MB 
(incl. artwork)

Setlist :
...as you can see...you see not much !
We need your kind help to fullfil the back artwork.

Disc 1 :

01. Piano Intro       (1:28) *
02. ?                (13:28)
03. ?                (20:00)
04. ?                (16:40)
05. Listen Here       (8:38)

Disc 2 :

01. ?                (10:11)
02. ?                (14:39)
03. ?                 (9:24)
04. ?                 (6:01)

Eddie Palmieri - Piano, Lead
Joe Santiago - Bass
Craig Handy - Tenor Saxophone
Conrad Herwig - Trombone
Giovanni Hidalgo - Congas
Horacio "El Negro" Hernandez - Drums
Brian Lynch - Trumpet

(* on the first track (Piano Intro) are some minor noise,
  sounds like a mobilephone searching for satellite connection.
Dark Moisture
Porcupine Night Walk
Lost and Found I
Lost and Found II

Eivind Aarset - Guitar, electronics
Nils Petter Molvaer - Trumpet, electronics
Audun Erlien - Bass
Run Arnesen - Drums 

received in trade
1. Dark Moisture
2. Porcupine Night Walk
3. Lost and Found I
4. Superstrings
5. Lost and Found II

Eivind Aaset - Guitar, electronics
Nils Petter Molvaer - Trumpet, electronics
Audun Erlien - Bass
Run Arnesen - Drums
Szene 74 German TV Show

42 Minutes
VHS/DVD Shrink/Hardrive
No Artwork
No Menu but Chapters at each song


01   Day Breaker                       (4'10'')
02   Interview with Band               (5'15)
03   Show Down                         (4'25'')
04   Day Tripper                       (6'20'')
05   Orange Special Blossom            (3'10'')
06   Ma Ma Ma Belle                    (4'30'')
07   In The Hall Of The Mountain King/
     Great Balls Of Fire               (7'50'')
08   Roll Over Beethoven               (5'00'')

Band Members:
    * Jeff Lynne - Vocals, lead guitar
    * Bev Bevan - drums, percussion
    * Richard Tandy - keyboards, moog, mellotron
    * Mike de Albuquerque - bass guitar, backing vocals
    * Mik Kaminski - violin
    * Mike Edwards - cello
    * Hugh McDowell - cello
01 - Poker
02 - Nightrider
03 - Showdown
04 - Can't Get it Out of My Head
05 - Poorboy (The Greenwood)
06 - Illusions in G Major
07 - Strange Magic
08 - 10538 Overture
09 - Do Ya
10 - Evil Woman
11 - Ma Ma Ma Belle
12 - Roll Over Beethoven

(Audio only archived on LLD_056)
JEMS Master
Advent Dynamic Mics>Sony 153SD Cassette Deck(Dolby B)>
Advent CRO2 Cassettes>Nakamichi Playback deck>
Nakamichi outboard Dolby B Unit>Wavelab>Flac

Disc One:
 1 Fire On High
 2 Poker 
 3 Nightrider
 4 Ocean Breakup/King Of The Universe 
 5 Bluebird Is Not Dead  
 6 New World Rising/Ocean Breakup Reprise  
 7 Hugh McDowell's Cello Solo W/Flight Of The Bumble Bee
 8 Showdown 
 9 Eldorado Overture
10 Can't Get It Out Of My Head
11 Poor Boy (The Greenwood)
12 Illusions In G Minor 
13 Eldorado  
14 Mik Kaminski's Violin Solo/Orange Blossom Special

Disc Two:
 1 Bev Bevan's Intro
 2 Strange Magic 
 3 10538 Overture
 4 Do Ya
 5 Evil Woman  
 6 Ma-Ma-Ma Belle
 7 Let's Spend The Night Together/The End
 8 Roll Over Beethoven

JEMS blows the dust off more cassettes in the basement and we come up 
with a great ELO Show from Cobo Arena in Detroit.   This may have 
been ELO's first arena show judging from their onstage comments.   
Certainly it was their biggest show in Detoit up to that point.   
This features a rarely played cover of The Rolling Stones "Let's 
Spend the Night Together" and "The End" from The Beatles.    
Fire On High
Night In The City
Turn To Stone
Eldorado Overture
Can't Get It Out Of My Head
Cello Solo
Telephone Line
Strange Magic
Sweet Talkin' Woman
Evil Woman
Livin' Thing
Do Ya
Ma Ma Ma Belle
Roll Over Beethoven

Source: Unknown audience cassette > DAT@44.1kHz> CD Wave>Samplitude>CD>FLAC

Sound: A-/B+
Show: A- (Dude, YOU try recreating that sound live on stage!)
1. Granada TV Studio 1972 - "Set At Six" - (cool to see Roy Wood on this one)
a. Queen Of The Hours
b. Jeff's Boogie No. 2
c. Whisper in the Night
d. Great Balls of Fire

2. Live on US TV 1973 (This Clip Has Been Shown On UK VH-1)
a. Roll Over Beethoven

3. Midnight Special 1973
a. Roll Over Beethoven

4. Top Of The Pops 1973 (As Shown On Top Of the Pops 2)
a. Showdown

5. Midnight Special 1973
a. Showdown

6. Midnight Special 1975
a. Strange Magic
b. Evil Woman

7. Midnight Special 1976
a. Rockaria!
b. Livin' Thing
c. Do Ya
d. Telephone Line

8. Various Promo Videos:
a. Wild West Hero. (Animated Version) 1977
b. It's Over. 1977
c. American Commercial For - The Big Night Concert
d. Twilight. 1981
e. Shine A Little Love. (Studio Version) 1979
f. Shine A Little Love. (Stage Set With Shades Version)1979
g. Here Is The News. 1981
h. Last Train To London. 1979
   1. Poker
   2. Nightrider
   3. Showdown
   4. Can't Get It Out Of My Head
   5. Poorboy (The Greenwood)
   6. Illusions in G Major
   7. Strange Magic
   8. 10538 Overture
   9. Evil Woman
  10. Ma-Ma-Ma-Belle
  11. Roll Over Beethoven

transferred from VHS
1) Introduction
2) Standin’ In The Rain
3) Night In The City
4) Turn To Stone
5) Tightrope
6) Telephone Line
7) Rockaria!
8) Wild West Hero
9) Showdown
10) Sweet Talkin’ Woman
11) Mr. Blue Sky
12) Do Ya
13) Livin’ Thing
14) Roll Over Beethoven

not for trade - commercial release (2006 remaster)
Elvin Jones - drums
Sonny Fortune - alto/tenor/sop sax
Pat Labarbera - tenor sax
James Williams - piano
Chip Jackson - acoustic bass

1. announcer (0:29)
2. Is There a Jackson in the House? (14:00)
3. Doll of the Bride (22:59)
4. George 'n Me (11:32)
5. Elvin Jone's Blues# (5:20)

Total Time: 54:22 

CBC-CBOF fm "Jazz Sur le Vif" airdate 03/02/91

FM> TDK-HS 120> JVC-D830-U Stereo Hifi VCR> RealtekAC'97 soundcard> Polderbits sound recorder> Polderbits sound editor> wav> flac(7)(asb) 

360 MB flac 
Armed Funk Tour - Soundboard

1. Goon Squad (fades in)
2. Opportunity
3. Oliver's Army
4. Busy Bodies
5. Two Little Hitlers
6. (I Don't Want To Go To) Chelsea
7. Green Shirt
8. Moods For Moderns
9. No Dancing
10. Sad About Girls
11. Big Tears
12. Motel Matches
13. Accidents Will Happen
14. Big Boys
15. Party Girl
16. Lipstick Vogue
17. Watching The Detectives
18. Pump It Up
19. (What's So Funny 'Bout) Peace, Love & Understanding
20. Radio, Radio 

Txt file:

Source:  Soundboard > Unknown > cdr trade > EAC > Sound Forge 6.0 > CD Wave > 1flac/1cd-da

Editing Comments:  Normalized volume after tape flip at beginning of T16.  Smoothed transitions
between T18/T19 and T19/T20.

Sound Quality:  Very good to excellent stereo soundboard although there is some tape hiss,
which is most noticeable during the (relatively few) quiet moments.  Overall, I'd give this 
show an "A-/A" for sound quality.

Performance:  Terrific.  20 songs in 65 minutes.  10 songs from "Armed Forces."  Several rarely 
played songs including "Busy Bodies," "Moods for Moderns," and "Sad About Girls."    

ALS, August 2005
 The Mystery Dance
The Angels Wear Red Shoes
The Beat
Radio, Radio
Less Than Zero
Waiting For The End Of The World >
No Action
Pump It Up
You Belong To Me
Lipstick Vogue >
Watching The Detectives
I'm Not Angry *
Miracle Man

This show was performed in a lecture hall or small theater at the C.W. Post Campus, because "The Dome" had recently
collapsed in a snowstorm. It was not held in the Tilles Center (which probably didn't exist then).

According to Peter Hedeman, who recorded the show for WLIR, the band arrived late due to snow, and ran into the building, following the microphone snake. They followed it the wrong way and burst into the area where the WLIR truck was located. "It was pretty funny, the shocked look on their faces." At the end of track 4, EC apologizes for being late, and explains that the door fell off their bus, so they arrived by car and had no time to do a soundcheck.

The encore is dedicated to the band's driver, the "Miracle Man."

This version was taped off the radio, and is not a pre-FM
Goon Squad
Oliver's Army
Busy Bodies
Two Little Hitlers
I Don't Want to Go to Chelsea
Green Shirt
Moods for Moderns
No Dancing
Sad About Girls
Big Tears
Motel Matches
Accidents Will Happen
Big Boys
Party Girl
Lipstick Vogue
Watching the Detectives
Pump It Up
(What's So Funny 'Bout) Peace, Love & Understanding
Radio Radio
(Spinning Songbook Night)

source : aiwa cm-30 > sony wm-d3 
transfer from master cassettes
taper  : little guy
transfer : markp

Disc One:
Watching The Detectives (I)
Ferry Cross the Mersey > Tiny Steps > Ferry Cross the Mersey
Less Than Zero
You Belong To Me
Everyday I Write The Book
Honey Are You Straight Or Are You Blind
Hi Fidelity
Blue Chair
The Only Flame In Town
Radio Sweetheart
King Midas In Reverse
American Without Tears

Disc Two:
Pretty In Pink
Red Is The Color
Miracle Man
Strict Time
Watching The Detectives (II)
Radio Radio
Help Me
(What's So Funny 'Bout) Peace Love & Understanding
Pump It Up
In 2002/2003 Elvis Costello was given the title "Artist in Residence" at UCLA.  For whatever reason, he apparently ended up not doing a whole lot,  but repaid the honor with two stand alone shows at Royce Hall on March 28 and 29, 2003 with the Imposters.  Two great, interesting, and very unique shows.  Both opened with Everybody's Cryin' Mercy - an apparent comment George Bush's nine day old Iraq War - and continued on an eclectic and subdued path.  Lots of obscure tunes.  Few hits.

Excellent sound.  Excellent mix with clear vocals.  A (mostly) respectful crowd.  Taped from the 10th row center.  In 2003, I made a few discs and sent them to only handful of people, but the show could have made it around a bit.  This is a complete remastering from the original DAT, and in my opinion a major improvement.  So it you have the old one, get this one and throw your old one away.  I'll post the March 29th show in a few days.

Sonics>Sony D7 DAT>ProTools (for level adjustment, compression, eq, and song separation)>flac

Taped and mastered by JB.  Please don't sell or convert to lossy format.

CD 1 (69:37)

01. Everybody's Crying Mercy
02. My Dark Life
03. In The Darkest Place
04. Clubland
05. So Like Candy
06. Spooky Girlfriend
07. Dust
08. I Wanna Be Loved
09. Love Field
10. High Fidelity
11. Man Out Of Time
12. Still Too Soon To Know - EC does the off-mic thing
13. Indoor Fireworks
14. All This Useless Beauty

CD 2 (63:42)

15. The Long Honeymoon
16. Toledo
17. Tart
18. Deep Dark Truthful Mirror / You Really Got A Hold On Me
19. Favourite Hour - EC on piano
20. That Day Is Done - EC on piano

Encore 1
21. Watching The Detectives
22. Almost Blue
23. God Give Me Strength

Encore 2
24. Shipbuilding
25. (What's So Funny 'Bout) Peace, Love And Understanding?
26. I Want To Vanish
Core Sound Stealth Cardoids > Sony PCM-M1 DAT > Philips CDR 870 >
EAC > WAV > Nero Wave Editor (fades) > CD Wave (track splitting) > FLAC


Disc 1
01. 45
02. Green Shirt
03. Brilliant Mistake
04. Shot With His Own Gun
05. This House Is Empty Now
06. You Left Me In The Dark
07. Someone Took The Words Away
08. Home Truth
09. Little Triggers
10. No Wonder
11. Unwanted Number
12. You Turned To Me
13. Fallen
14. God's Comic
15. Sleep Of The Just
16. Girls Talk
17. (What's So Funny 'Bout) Peace, Love And Understanding?

Disc 2
Encore 1
01. Either Side Of The Same Town
02. When It Sings
03. Still
04. Can You Be True?
05. Inch By Inch / Fever
06. Watching The Detectives
Encore 2
07. The Delivery Man
08. Country Darkness
09. Needle Time
Encore 3
10. Almost Blue
11. Let Me Tell You About Her - EC on piano
12. The Scarlet Tide - EC on ukelele
13. You'll Never Walk Alone
14. Pump It Up
15. The Dark End Of The Street

A very nice audience recording of a great show.
CD1  (78:56)

1)    Temptation 
2)    Clown Strike 
3)    Every Day I Write the Book 
4)    Monkey to Man 
5)    Country Darkness 
6)    Needle Time 
enter Larry Campbell 
7)    Waiting for the End of the World 
8)    There's A Story in Your Voice 
enter Emmylou Harris 
9)    I Still Miss Someone         
10)  Sleepless Nights              
11)  One of These Days        
12)  Indoor Fireworks         
13)  My Baby's Gone                
14) Tonight the Bottle Let Me Down 
15)  Nothing Clings Like Ivy 
16)  Red Dirt Girl 
17)  Heart Shaped Bruise
18)  Luxury Liner 

CD 2  (69:21)

exit Larry and Emmy 
1)  The Delivery Man/The Butcher's Boy  
2)  Chelsea              
3)  Clubland w/I Feel Pretty       
enter Larry Campbell                                              
4)  Alison/Suspicious Minds        
5)  Mystery Dance             
6)  Why Don't You Love Me 
7)  Pump it Up w/Ain't That a Lot of Love
Encore 1 
w/Emmylou and Larry 
8)  Wheels 
9)  Wild Horses 
10) Pancho & Lefty 
11) Gathering Flowers for Her Masters Bouquet 
12) Love Hurts 
13) When I Paint My Masterpiece
14) (What's So Funny About) Peace Love & Understanding?
Encore 2
15) The Scarlet Tide 

Sound: B
Show: A
Doc's notes:
Hey friends, here´s something unusual, an amazing recording from ELP, off a superrare Double Vinyl Boot
from the early German "Palms" label!
I´m not too familiar with the ELP scene, but side one of this Vinyl set, is just plain beautiful !
Be sure that the whole show is a great performance!
The overall sound quality of this recording is  one of the best vinyl boot recordings from that period!

The strange thing with this Show is, that the "Palms" release is definitely the first issue, 
in great stereo sound, but all crowd noise between songs cut out,
but a few years later another Boot company released  a second Bootleg vinyl set consisting of 3  single LP´s, in MONO only, and overall worse sound and very likely  from different tape, but complete.......
Unfortunately I have only Vol. 1 & 2 of this Mono Set, but in really bad shape, but I will see what I can do after the record fair season started here in September!

In any case, the "Palms" release which I´m posting here, is so much better in Quality than the second release, that anybody will be glad to have it anyway!

The Gnome
Promenade > The Sage
The Old Castle > Blues Variation (fades out)
Blues Variation (conclusion)> Promenade > The Hut of Baba Yaga > The Curse of Baba Yaga (fades out)
Tarkus (fades out)
Rondo > Drums > Rondo (fades out)

Time ca. 65 mins

Vinyl-Thorens TD 126 MK3-Goldring 1042 pickup-
Dynavektor 505 Tonearm-Restek Vektor Preamp
-Pioneer PDR05 CD Recorder-Eac-CoolEdit Pro-Flac
T's notes:
This CD-r release is from a cassette tape that I got in trade many years ago.  It is an audience recording.  There is a radio interivew with the band at the end

Mics and Recorder unknown >
Cassette generation unknown >
Playback Deck: Tascam 130 >
Nikko 32 Band EQ >
Akai DR16 Digital Hard Disk Recorder >
HHB CDR-800 Compact Disc Recorder >
CDR  > WAV >CD Wave Editor > FLAC

I removed a gap which was a result of tape flip and made a slight speed correction.  I also removed a few other bad edits, gaps and a short repeated segment.  Some of the songs are incomplete.

  1.  Hoedown
  2.  Tarkus (including Epitaph and In The Hall Of The Mountain King)
  3.  Take A Pebble  (part 1)
  4.  Lucky Man
  5.  improvisation / Take A Pebble  (part 2)
  6.  Raindrops Keep Falling On My Head
  7.  Pictures At An Exhibition
  8.  Rondo
  9.  (interview)
Works Orchestra and Choir conducted by Godfrey Salmon

Unknown mics>Uher Cr 34 Cassette Master>DAT   110 min. 
Transfer:  Nak BX2>Tascam Da-P1>Pioneer PRD555>EAC (Xact)>aiff>.flac

From the Collection of orangeboy
Transfer by orangeboy
Released on thetradersden, August 10, 2006

CD #1
Karn Evil 9, 1st Impression, Part 2
The Enemy God
From the Beginning
C'est La Vie
Pictures At An Exhibition
tape flip
Piano Concerto #1 1st Movement
Piano Concerto #1 3rd Movement
Closer To Believing
Lucky Man

CD #2
Knife Edge

Fanfare For The Common Man incl. Rondo

After the massive Brain Salad Surgery tour of 1974, ELP took almost 3 years off from performing live. Keith recorded a piano concerto and Greg did a bunch of songs with an orchestra, as did Carl. At some point, they decided that instead of putting out 3 solo albums, that they would put out a double album with a solo side each and a group side, which also featured an orchestra. Works Vol. 1.

They decided to go out on tour with a 57 piece orchestra and a 6 person choir, each instrument individually mic'd. The whole thing was a massive undertaking with a tremendous overhead. From the beginning, they knew that it could be financially disastrous. Because of union contracts with the classical musicians, they could only play 3 or 4 shows a week and couldn't travel more than 100 miles a day. Everything had to go right for them to merely break even. But they so believed in what they were doing that they went ahead anyway. They knew it was mad but they didn't care, to them it was all about art, not finance.

As it turned out, things didn't end up going so well. They were relying on 3 massive outdoor shows to cover the costs of the rest of the dates of the first leg of the Works tour. The concert in Chicago was a great success, but another was cancelled because of a Led Zeppelin riot and the other because of poor ticket sales. They were bleeding money. I guess they were losing millions, in 1977 money.

The entire tour with the orchestra lasted only 12 dates. This is the final date. This is the day that the dream died. Before orangeboy shared this with us, there were only 4 recordings of this first part of the tour that have surfaced, and one of those is incomplete. This is by far the best recording of any of them.  You can really tell that the sound of this concert in the auditorium was fabulous.

ELP took a week off from touring in Fort Wayne, Indiana and rehearsed intensely as a three piece again, then went back out on the road for the rest of the summer.  They did keep paying the classical musicians during the time they were out recouping their losses (quite successfully) and they did bring the orchestra  back for 3 shows in July in New York and a final triumphant concert in Montreal at the end of August, but this night in Des Moines Iowa is really the end of the orchestra tour.

This concert is extremely important not only in the history of ELP, but in the history of rock.

This is massive.  Thanks orangeboy!!  You are a complete star!

By the way, the classic ELP song From the Beginning (from 1972) was only ever performed in the 70's at these 12 concerts.
T's notes:
This release is from cassette tapes that I got in trade many years ago.  It is an audience recording. 

Mics and Recorder unknown >
Cassette generation unknown >
Playback Deck: Tascam 130 >
Nikko 32 Band EQ >
Akai DR16 Digital Hard Disk Recorder >
HHB CDR-800 Compact Disc Recorder >
CDR  > WAV >CD Wave Editor > FLAC

I removed the gaps caused by tape flip and change.

disc 1

1. Karn Evil 9 (1st Impression, Part 2)
2. Hoedown
3. Tarkus
4. Take A Pebble /  Piano Concerto / Take A Pebble
5. Still, You Turn Me On
6. Knife Edge
7. Pictures At An Exhibition

disc 2

1. C'est La Vie
2. Lucky Man (cut)
3. Tank
4. Nutrocker
5. Pirates
6. Fanfare For The Common Man / Rondo / Fanfare
7. outro
disc 1

1. Karn Evil 9, First Impression, Pt. 2
2. Hoedown
3. Tarkus
4. Take a Pebble
5. Piano Concerto
6. Take a Pebble II
7. Still....You Turn Me On
8. Knife Edge
9. Pictures at an Exhibition

disc 2

1. C'est La Vie
2. Lucky Man
3. Tank
4. Nutrocker
5. Pirates
6. Fanfare/Rondo

Sound: B+
Show: A+ Killer version of Nutrocker

Keith Emerson - Keyboards
Greg Lake - Bass Guitars-Guitars and Vocals
Carl Palmer - Drums and Percussion
Fanfare For An Uncommon Band

   1977 was a year of huge change for Emerson, Lake and Palmer, change that would, sadly, signal the beginning of the end for the celebrated trio.  After the groundbreaking 1973 album ‘Brain Salad Surgery’, considered by many to be the band’s crowning achievement, the colossal world tour that followed, taking in 75 shows, left the band drained of all energy.  They elected to take a well-deserved break and spend time with their families. Eventually, the three musicians began working on solo projects which, coincidentally, all involved the use of orchestral arrangements.  The band, it seemed, were about to embrace an entirely new musical direction, filled with new challenges and great expectations. But this new and so-called ‘orchestral crusade’ would also bring more than its fair share of problems for ELP.
   Carl Palmer remembers: “Originally, what happened is we all went off and recorded the pieces of music we each wanted to do. And after about six months we got together and played through the individual stuff and suddenly it all clicked. Everybody had used an orchestra, had something with brass and strings and woodwinds.” At first, the project would see all three musicians releasing separate solo albums which would be followed by an album of band material but this idea was soon deemed to be an unwise move, as Palmer recalls: “We knew the problems about releasing individual albums. If you release them too close to each other, one takes the sales from the other.” Finally, band manager Stewart Young came up with the idea of packaging the whole thing as a double album with each of the first three sides separately dedicated to each musician’s best solo music and the fourth side featuring brand new band-written ELP material.
   The band adjourned to Montreux, Switzerland, and set about recording this vast amount of new material. The decision to record in Montreux was, in Keith Emerson’s words “…the worst we’ve ever made! It was like living in a padded coffin. There was nothing to do and nowhere to go to rave it up. Being there made us feel so isolated!” Carl Palmer: “The thing that kept us going in Montreux was the quality of the studio.” Yet the band stuck to it and out of these difficult recording sessions came the album ‘Works’, the like of which had never been heard in popular music before or since. The album was presented in a lavish three-way gatefold, with one of the discs at each end. As a visual sign of the change in the musical approach, the entire artwork was designed in black and white, very distant in concept from the colourful layouts of earlier albums such as ‘Tarkus’, ‘Trilogy’ or ‘Brain Salad Surgery’.
   The new album was released in March 1977 and, after the initial shock of hearing the band’s new orchestral approach, it soon gained rave reviews from the press and fans alike. Much to everyone’s surprise, the album was marked as ‘Volume One’, which evidently led the fans to believe that a second album of similar magnitude and power was waiting in the wings for release at a later date. As will be explained later, the fate of ‘Works – Volume Two’ would take quite a different turn.
   The next step was to bring the new album to the stage. This would be the biggest challenge of all and would, in the end, precipitate the downfall of ELP. From the start, all three band members were convinced that the ambition inherent in ‘Works – Volume One’ was worth the risk. The album was proving to be a huge success worldwide but taking the mammoth show on the road, complete with orchestra and the necessary back-up crew – a touring party of over 160 people – ruined the band financially.  Although they would later recuperate some of their losses, this was the first sign of ELP’s imminent disintegration.  The band had spent part of the winter and spring of 1977 rehearsing their demanding set at the Olympic Velodrome in Montreal.  By that point they had been away from the stage for nearly three years so they really needed a quiet rehearsal space, away from the mob of British reporters intent on following their every move. Rehearsals went well and the band regained much of its usual confidence but the upcoming live dates still worried them.
   The tour started with an aura of good will but the enormous cost of keeping so many people on the road soon proved too much of a strain. For a tour of such magnitude to work financially, ELP would have had to perform to full houses at every venue, which was simply impossible to guarantee.  Too many shows were scheduled in too little time for it to work. The orchestra had to go.
   Keith Emerson recalls: “There were a lot of unforeseen things that made us jettison the orchestra. One was a ruling by the union that musicians can’t travel more than about 100 miles every day. But the thing is that people travel that far these days to see concerts. So we were packing places one night and then we’d travel 100 miles to the next place and we’d only have half the house filled. And a lot of other things started piling up to put us behind. From then on, it was impossible to catch up with the finances so we just had to stop and go out as a three-piece.” ELP’s reluctant decision to only use the orchestra in the very large venues also brought financial disaster. After two final appearances at Olympic Stadium in Montreal, the first of which was both recorded and filmed for posterity, the orchestra was dropped for good and the tour limped on without it.
   Ultimately, only 14 concerts were performed with the orchestra.  By the end of the tour, ELP were physically exhausted, approaching bankruptcy and completely disillusioned about the whole thing. Still they had to pick up the pieces and try to recoup some of the financial losses. It became apparent that only a full tour as a three-piece could help accomplish that.
   As the fans had surmised, the original idea behind the ‘Works – Volume One’ album was that there would be a second volume of the same kind.  The disastrous outcome of the orchestral tour had changed the band’s plans entirely.  From then on, everything that ELP would do or release was done with only one goal in mind: to set the ELP ship afloat again. The band needed to pull themselves out of a very deep financial hole and taking extravagant risks would surely not do that.  Hoping to bring in some fresh money to finance the much needed new tour, the band released the hastily assembled ‘Works – Volume Two’ album, a single LP that featured earlier singles, B-sides and rejects. The result, a very bland album unworthy of the band’s past accomplishments and reputation, proved a dismal failure and a huge disappointment for ELP fans. The band was walking along a tightrope and nothing, it seemed, could prevent them from taking that last fatal step.
   But no matter what has been said or written about the infamous ‘Works’ tour, and despite the huge amount of problems that surrounded it, Emerson, Lake and Palmer still very much enjoyed performing together and the extensive amount of official and unofficial recordings from that particular period stands as staggering evidence to that effect.  ELP were at the peak of their performing skills and to see them perform live was to remember them forever.
   From 16th January 16 until 13th March 1978, ELP once again toured North America as a three-piece band. But even if the tour was successful enough to save the band from the financial anarchy of the orchestral tour, this would be the end of an era. The advent of punk rock and disco music had brought on a general reaction against progressive rock and the ‘dinosaur’ bands of the seventies had to either adapt or simply disappear into oblivion. 1978’s ‘Love Beach’ album was ELP’s attempt at a compromise between the two musical worlds.  There were still some interesting avenues to explore but their heart wasn’t in it anymore. The band didn’t even tour in support of the new album, deciding instead to call it a day. Fans would have to wait another 14 years to see Emerson, Lake and Palmer together again on a live stage.
   But even if the ‘Works’ era signalled the start of ELP’s downfall, the difficult 1977 tour was by no means a total waste. Audiences who attended either the orchestral or the three-piece concerts were treated to some of ELP’s most stellar live performances ever. Such was the case with the show which we now bring you, recorded on the first of two nights at the Boston Garden in July 1977. This was one of the many nights where ELP performed without the orchestra but, as you will hear, the band was on fire that night, each song as energetic and spectacular as the next. The absence of the orchestra forced the exclusion of some songs such as ‘Abaddon’s Bolero’, ‘The Enemy God’ and ‘Closer To Believing’ but the incredible performance of all the other numbers more than makes up for that. Enjoy ! 

PRRP Staff 

Notes from the Re-Master 

            This show was sourced from a CD version of a 1st generation cassette tape. The man who provided photographs of the event was sitting right near the taper and recalls the set-up:

“I wasn't taping that time but I sat behind a guy (from Providence I think) who had a Nak 550 (recorder) with Nak CM-100's and CP4 shotgun mike capsules, so there's a good chance that he was the source. He was up front and had to be stealthy, so he kept his shotgun mikes well below head level, aimed almost straight up at the PA. I never liked that setup. I thought the CP1 cardioid capsules sounded better and I always kept them above head level in order to get sound from the stage monitors. It was worth the risk of getting shut down. I would have traded backward several rows to get a better position. “

            In any event, the quality of the sound is outstanding with clear signal up to 17,000Hz. The most obvious problem with the show was the tonality. The sub-bass components were very excessive. Additional adjustments to the bass section were also needed to balance the tone. Small adjustments in the mid-range and treble sections were made to enhance detail. Hiss was also a problem and its reduction allowed more subtle sections of the music to be better appreciated.
            Audience noise was a big problem. Applause was excessively loud and whistlers seemed to congregate around the taper. Permanent hearing loss could be the result of listening to the raw version of this show through headphones due to the volume of these whistles. Lots of time was taken to reduce the whistles and other audience noises. Cuts in the recording did occur but were only found during applause sections. Mix-pasting fixed this minor flaw and allowed a continuous listening experience. Finally, the discs were re-balanced to roughly equalize the amount of music on each disc.
Disc 1

01 Introductory Fanfare
02 Hoedown
03 Tarkus
04 Take a Pebble
05 Piano Concerto No. 1: 1st Movement
06 Maple Leaf Rag
07 Take a Pebble
08 C'est La Vie
09 Lucky Man
10 Pictures at an Exhibition

Disc 2

01 Tiger in a Spotlight
02 Watching Over You
03 Tank
04 Drum Solo
05 The Enemy God
06 Nutrocker
07 Pirates
08 Fanfare for the Common Man 

best. ELP. show.

 Tarkus/ Knife Edge
Paper Blood
Romeo & Juliet
Piano Improvisation
Creole Dance
Still...You Turn Me On
C'est La Vie
Maple Leaf Rag
Touch & Go
Pirates (Slight cut at end)
Set II
Pictures at an Exhibition
Lucky Man
Fanfare for the Common Man

Quality: B
Knife Edge
Paper Blood
Black Moon
Piano solo
Creole Dance
From the Beginning
C'est la Vie
Lucky Man
Honky Tonk Train Blues

Touch and Go
Pictures at an Exhibition
Fanfare for the Common Man/America/Rondo

not for trade


not for trade
Opening set of the 1996 Jethro Tull tour.  Unfortunately missing the first 3 songs (I only remember one was Touch And Go) because the stupid venue made them start early.  Show time was 7 PM but they began as I was in line at 6:45.  I started taping mid way through the third song, but omitted half a song from the final product.  Still a great set.  Enjoy!

Files Included:

01 Take A Pebble 
02 Hammered Out
03 Still You Turn Me On
04 Tarkus - Eruption
05 Tarkus - Stones Of Years
06 Tarkus - Iconoclast
07 Tarkus - Mass
08 The Great Gates Of Kiev
09 Lucky Man
10 Bitches Crystal
11 Rondo
With Spyboy

Source : AKG mics > Sony DAT recorder D-8 > Pioneer CD recorder > EAC > Wav > Mkw ACT > SHN

Disc 01   -   55.24 minutes

01. Where will i be
02. Orphan girl
03. Wrecking ball
04. Pancho & Lefty
05. Ain't living long like this
06. Get up John
07. Love hurts
08. Goodbye
09. Green pastures
10. Goin' back to Harlan
11. Deeper well

Disc 02    -    48.41minutes 

01. Prayer in open D
02. Abraham , Martin & John
03. Sweet old world
04. Every grain of sand
05. Wheels
06. Born to run
07. The maker
08. Boulder to Birmingham
09. Indian red
With Spyboy

Where Will I Be
Orphan Girl
Pancho & Lefty
Red Dirt Girl
I Don't Wanna Talk About It Now
I Ain't Living Long Like This
Sweet Dreams
Boulder to Birmingham
Goin' Back to Harlan
Deeper Well
Bang the Drum Slowly
Calling My Children Home
The Pearl
Hickory Wind
Get up John
The Maker
Enrico Rava tp
Roswell Rudd tb
J.F. Jenny-Clark b
Aldo Romano dr

 NOTE: This concert is played as a suite ! 

1)	53:58 King in Yellow / Lavori Gasalinghi / Out of Nowhere/Maranjao

FM - Revox A 77 (7 1/2 in/s highest domestic speed)- Denon CDR 1000 – CDR-R – flac - dime
Zigzag - SB 6

January 10, 1987:
Disc 1:
1) White Room
2) I Shot the Sheriff
3) Hung Up On Your Love
4) Wonderful Tonight
5) Miss You
6) Same Old Blues

Disc 2:
1) Tearing Us Apart
2) Holy Mother
3) Badge / Let it Rain
4) Cocaine
5) Layla
6) Money For Nothing
7) Sunshine of Your Love

January 11, 1987:
Disc 1:
1) Crossroads
2) White Room
3) I Shot the Sheriff
4) Hung Up On Your Love
4) Wonderful Tonight
5) Miss You
6) Same Old Blues

Disc 2:
1) Tearing Us Apart
2) Holy Mother
3) Badge / Let it Rain
4) Cocaine
5) Layla
6) Money For Nothing
7) Sunshine of Your Love

January 12, 1987:
Disc 1:
1) Crossroads
2) White Room
3) I Shot the Sheriff
4) Hung Up On Your Love
4) Wonderful Tonight
5) Miss You
6) Same Old Blues

Disc 2:
1) Tearing Us Apart
2) Holy Mother
3) Badge / Let it Rain
4) Cocaine
5) Layla
6) Money For Nothing
7) Sunshine of Your Love

Geetarz Comments: Great soundboard set from the folks at ZigZag who also brought you ECEC and Monotheistic Stages. Features Mark Knopfler on guitar!

Visitor Comments:
"Eric's solo on the first night during Holy Mother simply got my hair stand on end, probably the best version I've heard. Highly recommended, but the whole set is just incredible. Only shortcoming, maybe the guitar volume is a bit low on the second night recording. Overall supreme quality, check it out !!" - G.
with the National Philharmonic Orchestra, Michael Kamen cond.

Disc 1
01. Layla (orchestral intro)
02. Crossroads
03. Bell Bottom Blues
04. Lay Down Sally
05. Holy Mother
06. I Shot the Sheriff
07. Hard Times
08. Can't Find My Way Home
09. Old Love
10. Wonderful Tonight

Disc 2
01. White Room
02. Concerto for Electric Guitar and Orchestra, mvts 1 & 2
03. Layla
04. Sunshine of Your Love
05. Tears in Heaven (from MTV Video Awards, Pauley Pavillion, Los Angeles, CA 1992-09-09)
Silvers > EAC > WAV > MKW > SHN

Disc 1
Key to the Highway
Tears in Heaven
Bell Bottom Blues
Change the World
My Father's Eyes
River of Tears
Going Slow Down
She's Gone
It's Alright
Finally Got Myself Together

Disc 2
Got You On My Mind
Don't Let Me Be Lonely Tonight
Travelin' Light
Hoochie Coochie Man
Five Long Years
Wonderful Tonight
Sunshine of Your Love
Somewhere Over the Rainbow
Eric Clapton - CBE at RAH Part One

London, England - May 4, 2004 - Hoochie Coochie - TBA
Disc 1:

   1. Let it Rain
   2. Hoochie Coochie Man
   3. Walk Out in the Rain
   4. I Want a Little Girl
   5. I Shot the Sheriff
   6. Me and the Devil Blues
   7. They're Red Hot
   8. Milkcow's Calf BLues
   9. If I Had Posession (Over Judgment Day)
  10. Kind Hearted Woman Blues

Disc 2:

   1. Got to Get Better in a Little While
   2. Have You Ever Loved a Woman
   3. Badge
   4. Wonderful Tonight
   5. Layla
   6. Cocaine
   7. Sunshine of Your Love
   8. Got My Mojo Working


CDR>EAC(secure)>WAV>Flac Frontend Level 8,align on sbe, verify>FLAC
Eric Clapton - CBE at RAH Part Two

London, England - May 5, 2004 - Hoochie Coochie - TBA
Disc 3:

   1. Let it Rain
   2. Hoochie Coochie Man
   3. Walk Out in the Rain
   4. I Want a Little Girl
   5. I Shot the Sheriff
   6. Me and the Devil Blues
   7. They're Red Hot
   8. Milkcow's Calf BLues
   9. If I Had Posession (Over Judgment Day)
  10. Kind Hearted Woman Blues
Disc 4:

   1. Got to Get Better in a Little While
   2. Have You Ever Loved a Woman
   3. Badge
   4. Wonderful Tonight
   5. Layla
   6. Cocaine
   7. Sunshine of Your Love
   8. Got My Mojo Working
   9. Hey Man (*)
  10. Wonderful World (*)

Geetarz Comments:

(*) Bonus tracks recordd on EC's "Day Off" with Zucchero at the Royal Albert Hall on May 6, 2004.


CDR>EAC(secure)>WAV>Flac Frontend Level 8,align on sbe, verify>FLAC
Eric Clapton - CBE at RAH Part Three

London, England - May 7, 2004 - Hoochie Coochie - TBA
Disc 5:

   1. Let it Rain
   2. Hoochie Coochie Man
   3. Walk Out in the Rain
   4. I Want a Little Girl
   5. I Shot the Sheriff
   6. Me and the Devil Blues
   7. They're Red Hot
   8. Milkcow's Calf BLues
   9. If I Had Posession (Over Judgment Day)
  10. Kind Hearted Woman Blues

Disc 6:

   1. Got to Get Better in a Little While
   2. Have You Ever Loved a Woman
   3. Badge
   4. Wonderful Tonight
   5. Layla
   6. Cocaine
   7. Sunshine of Your Love
   8. Got My Mojo Working


CDREAC(secure)WAVFlac Frontend Level 8,align on sbe, verifyFLAC
Eric Clapton - CBE at RAH Part Four

London, England - May 8, 2004 - Hoochie Coochie - TBA


Disc 7:

   1. Let it Rain
   2. Hoochie Coochie Man
   3. Walk Out in the Rain
   4. I Want a Little Girl
   5. I Shot the Sheriff
   6. Me and the Devil Blues
   7. They're Red Hot
   8. Milkcow's Calf BLues
   9. If I Had Posession (Over Judgment Day)
  10. Kind Hearted Woman Blues

Disc 8:

   1. Got to Get Better in a Little While
   2. Have You Ever Loved a Woman
   3. Badge
   4. Wonderful Tonight
   5. Layla
   6. Cocaine
   7. Sunshine of Your Love


CDR>EAC(secure)>WAV>Flac Frontend Level 8,align on sbe, verify>FLAC

Eric Clapton - CBE at RAH Part Five

London, England - May 10, 2004 - Hoochie Coochie - TBA


Disc 9:

   1. Let it Rain
   2. Hoochie Coochie Man
   3. Walk Out in the Rain
   4. I Want a Little Girl
   5. I Shot the Sheriff
   6. Me and the Devil Blues
   7. They're Red Hot
   8. Milkcow's Calf BLues
   9. If I Had Posession (Over Judgment Day)
  10. Kind Hearted Woman Blues

Disc 10:

   1. Got to Get Better in a Little While
   2. Have You Ever Loved a Woman
   3. Badge
   4. Wonderful Tonight
   5. Layla
   6. Cocaine
   7. Sunshine of Your Love
   8. Got My Mojo Working


CDR>EAC(secure)>WAV>Flac Frontend Level 8>FLAC

Show Comments
Courtesy of http://www.geetarz.org/reviews/clapton/no-retiring-at-rah.htm

Easily one of the finest performances of both "Let it Rain" and "Hoochie Coochie Man" of the tour. "Walk out in the Rain" is certainly not EC's finest work on this particular tune, but Doyle really takes it into the stratosphere with his outro solo. Doyle also contributes some really standout slide work to "Milk Cow Blues". Show finishes with a unique performance of "Sunshine of Your Love" for this tour, at the end going back into four more bars of the "Sunshine" vamp.
Let It Rain
Hoochie Coochie Man
Walk Out In The Rain
I Want A Little Girl
I Shot The Sheriff
Me & The Devil Blues
They're Red Hot
Milkcow's Calf Blues
If I Had Possession Over Judgement Day
Kind Hearted Woman Blues
Got To Get Better In A Little While
Have You Ever Loved A Woman
Wonderful Tonight
Sunshine Of Your Love

Discs 11 & 12 of "C.B.E. at R.A.H."

Sound: B
Show: A

DIME June 2006
CDR>EAC(secure)>WAV>Flac Frontend Level 8, verify, align on SB>FLAC
Eric Clapton - Double Image 2 (Mid Valley Records)

CDR>EAC(Secure Mode)>FLAC Frontend (Level 6, verify)>DIME

Disc 1

1) My Father's Eyes 
2) Pilgrim 
3) One Chance 
4) River of Tears 
5) Going Down Slow 
6) She's Gone 
7) Driftin' 
8) Tears in Heaven 
9) Layla 
10) Change the World 

Disc 2

1) Old Love 
2) Crossroads 
3) Have You Ever Loved a Woman 
4) I Shot the Sheriff 
5) Wonderful Tonight 
6) Cocaine 
7) Before You Accuse Me (Featuring Bonnie Raitt) 
8) You Were There 
 The Rube Thing
Good Morning Susie Soho
The Chapel
The Wraith

From Gagarin's Point of View
Dodge the Dodo
Hands Off
The Rube Thing
Good Morning Susie Soho
The Chapel
The Wraith
From Gagarin's Point of View
Dodge the Dodo
Hands Off
Esbjorn Svensson piano
Dan Berglund bass
Magnus Ostrom drums

"The Rube Thing" is missing from my copy. This was apparently done to allow the show to fit on 1 CD-R.
Corrected version on LLD_493
The Message
When God Created the Coffeebreak
Serenade for the Renegade
Strange Place for Snow
Years of Yearning
Behind the Yashmak
Dodge the Dodo
analog sat > pc > nero wave editor > shn tool > cdr

a sampler broadcast featuring Dave Holland & E.S.T. (separately)

01 Looking Up - DHQ
02 Juggler's Parade - DHQ
03 Serenade For The Renegade - EST
04 Car Crash - EST
05 Dodge The Dodo - EST
06 Dave talking about Miles Davis - DHY
FM > Trade CD > EAC > Flac (6)
Seven Days Of Falling
Eighty-Eight Days In My Veins
Mingle In The Mincing-Machine
Band Introduction
In The Tail Of Her Eyes
The Unstable Table And The Infamous Fable
When God Created The Coffeebreak
Behind The Yashmak
Believe Beleft Below
A Picture Of Doris Travelling With Boris
Spunky Sprawl
Esbjörn Svensson, p
Don Berglund, b
Magnus Oestroem, dr

CD1 - 54:24

1. A Picture Of Doris Traveling With Boris
2. Viaticum
3. Mingle In The Mincing Machine
4. Carcrash
5. The Unstable Table And The Infamous Fable

CD2: - 49:47

1. When God Created The Coffeebreak
2. The Second Page
3. Behind The Yashmak
4. The Face Of Love
5. Round Midnight

source: ADR > CD-RW > Feurio > CDR > CDEX > Flac Frontend > Flac 

Note that this comes from ADR (Astra Digital Radio) which uses MPEG1 Layer 2/192 kbps.
To my knowledge there's no better recording available. 
Sound's pretty good, though.
Esbörn Svensson: Piano
Dan Berglund: Bass
Magnus Öström: Drums

Janne Hansson: Sound engineer

Recording: Two Sound professionals microphones > Bass filter 95 Hz > Archos Gmini 402 (Stereo WAV PCM 44.1 kHz)
Editing: Cool Edit Pro 2.0 (WAV PCM) > dBpowerAMP 11.5 > FLAC

Track listing 

1- Viaticum
2- A Picture of Doris Travelling with Boris
3- Definition of a Dog
4- When God Created the Coffeebreak
5- In the Tail of her Eye
6- The Unstable Table and the Infamous Fable
7- Seven Days of Falling
8- Spunky Sprawl

The first track of the concert was "I mean you" [T.Monk] but it's been omitted due to technical issues.
FM - pc - editing - cue sheet - cuesplitter -  flac8 - md5 - you - 

Removed: Station ID, mod - faded: no - cut in/out: no

Total Time...			(90:15)

01. Tuesday Wonderland  		(16:01)
02. The Rube Thing  		(12:17)
03. Definition Of A Dog   		(18:23)
04. Dolores In A Shoestand  		(16:12)
05. Sipping On The Solid Ground  	(07:55)
06. Goldwrap  			(04:25)
07. Behind The Yashmack  		(14:59)
incomplete filler aired but not included here -

Esbjörn Svensson... Piano
Dan Berglund... Bass
Magnus Öström... Drums
Esbjörn Svensson Trio (Esbjörn Svensson: p, Dan Berglund: cb, Magnus Öström: d)
recorded on the 2nd of December 2006 at Festival "Il volo del jazz", Teatro Zancanaro, Sacile
broadcasted by Italian radio station Radio 3 on the 29th of May 2007

FM -> MD -> CD-R -> flac (Level 8)

Any help with the setlist very much appreciated.

1. ??? 22:06
2. ??? 6:59
3. ??? 16:32
TT: 45:37
First Breath After Coma
Greet Death
Six Days at the Bottom of the Ocean
Have You Passed Through This Night?
Your Hand in Mine
Greet Death
Yasmin the Light
Have You Passed Through This Night?
The Only Moment We Were Alone
Soundboard > Unknown Cassette trade (1990's) > MacBook Pro > Peak Pro XT > xACT 1.59 > Flac > Dime

Disc One

01 Slip Jigs & Reels (in progress)
02 Woodworm Swing
03 Crazy Man Michael
04 There Once Was Love
05 Naked Highwayman
06 Portmeirion
07 Foolish You

Disc Two

01 The Deserter
02 A Surfeit Of Lampreys
03 Frozen Man
04 Lahha Rookh
05 Walk Awhile
06 The Hiring Fair
07 John O'Casey Jig > Tripping Up The Stairs
08 A Hard Day's Night
09 No Particular Place To Go (Snippet) 

Hadn't listened to this one in a while and broke it out today, just a great acoustic set.  Fairport's normal flawless playing...qaulity is excellent.


This tag denotes a recording that is sourced from official material but been transferred, upmixed, or otherwise "mastered" by fans.
SBD > Sony D100 > D100 > Waveterminal 2496 > Cool Edit 2000 > CD-Wave

traded by JK
Lineage : Master md Sharp/Sony ECM-TS125-microphone -> Sound Forge 6.0 -> CD-rwin burn/rip -> FLAC

Tracklist : 
1. Big wedge
2. Moving targets
3. Goldfish & clowns
4. Numbers
5. The pilgrim´s adress
6. Innocent party
7. Long cold day
8. Credo

1. Intro : La gazza ladra
2. Pseudo silk kimono
3. Kayleigh
4. Lavender
5. Bitter suite i) Brief encounter
6. ii) Lost weekend
7. iii) Blue angel
8. iv) Misplaced rendezvous
9. v) Windswept thumb
10. Heart of Lothian i) Wide boy
11. ii) Curtain call
12. Waterhole (Express bongo)
13. Lords of the backstage
14. Blind curve i) Vocal under a bloodlight
15. ii) Passing strangers
16. iii) Mylo
17. iv) Perimeter walk
18. v) Threshold
19. Childhoods end?
20. White feather
21. Fugazi
Party in the Park II

1. [02.43] Eleanor
2. [04.07] Happy Together

Sound: A
Show: B
Source: Ex- Stereo Audience Recording

01: Opening
02: Focus ‡V
03: Answers ? Questions ! Question ? Answers !
04: Focus ‡U
05: Sylvia
06: Harem Scarem
07: House Of The King
08: Birth
09: Tommy

01: Hamburger Concerto
02: Hocus Pocus
03: Hamburger Concerto Jam
04: No Hang UPS
05: Hocus Pocus(reprise)

Jan Akkeman: Guitar
Bert Ruiter: Bass, Vocals
Colin Allen: Drums
Thijs Van Leer: Keyboards, Flute , Vocals

2 hours of TV footage. No menu. 

Available Recordings, according JN:
90 min, SBD, A-  

Source: 82 min, SBD, A-
Lineage: Lower ?? Gen Cassette > CD-r > EAC offset corrected > Sonic Foundry Batch Converter (Channel Converter 
L/R Channel Swap, Waves Q-10 EQ [4db added at 8k High Shelf], Waves L3 Maximizer [ -1.5 reduction @ -3.5 db ARC]
 > Flac level 8, align on sector boundaries
Taped by: N/A
Transfered by: N/A
Edited by: erroneous
File Size: 442 MB (FLAC)

MOI '68 Nov. - '69 Aug.:

Frank Zappa
Jimmy Carl Black
Roy Estrada
Bunk Gardener
Buzz Gardener
Lowell George
Euclid James "Motorhead" Sherwood
Art Tripp
Ian Underwood


Some Ballet Music
Uncle Meat
Eye Of Agamotto
My Guitar Wants To Kill Your Mama
Clap + Vomit (with audience participation)
The Jelly
Eric Dolphy Memorial Barbecue (q: Teddy Bears' Picnic; Tea For Two; It Had To Be You; Octandres)
Hungry Freaks Daddy
Little House I Used To Live In
Aybe Sea
Transylvania Boogie
Help I Am A Rock
King Kong
Igors Boogie~Little Doo-Wop
SBD> 3rd Gen Maxell XLII 90min tape> Kenwood KX-W8020 Cassette Deck> Sound Blaster Awe32 PC Soundcard> Recorded To WAV And Edited With Cool Edit Pro> WAV Files Split with CDWave> FLAC

01 - Cosmik Debris
02 - Inca Roads
03 - Pygmy Twylyte
04 - Idiot Bastard Son
05 - Cheepnis
06 - Big Swifty
07 - Dickie's Such An Asshole (includes tape flip)
08 - Farther O'blivion
09 - Son Of Mr Green Genes/King Kong/Chunga's Revenge
Source: 129:01 min, A-/B+
Taped and Transfered by Arid: Aud > tape (master) > AIFF (Peak4) > CDR
Flaced and Seeded by Cosmikd: CDR > WAV (EAC) > FLAC >
Fills and Patches by Yojimbo: for 10 City Of Tiny Lights II, 18 Keep It Greasey and 23 Village Of The Sun
edited by walk: downloaded & fills from Yojimbo > Adobe Audition 1.5 (tapeside 2+3 normalized and delay of 0.3 ms on right channel of all tracks) > shntool > flac frontend (lvl 7 / 825 MB FLAC)

Frank Zappa's Band:
Arthur Barrow - bass
Vinnie Colaiuta - drums
Warren Cucurullo - guitar
Ed Mann - percussion
Tommy Mars - keyboards
Denny Walley - guitar
Ike Willis - guitar, vocals
Peter Wolf - keyboards
Frank Zappa - guitar, vocals

01 Intro Guitar Solo
02 Presentation
03 Dead Girls Of London
04 I Ain't Got No Heart
05 Brown Shoes Don't Make It
06 Cosmik Debris
07 Tryin' To Grow A Chin
08 City Of Tiny Lights I
09 Outside Now
10 City Of Tiny Lights II °°° tf1 & insert1 from ~ 2:03.6 to 2:38.3
11 Dancin' Fool
12 Easy Meat
13 Jumbo Go Away
14 Andy
15 Inca Roads
16 Florentine Pogen
17 Honey Don't You Want A Man Like Me?
18 Keep It Greasey °°° tf2 & insert2 from 0:29.1 to 0:58.4
19 The Meek Shall Inherit Nothing
20 Peaches En Regalia
21 Bobby Brown
22 Conehead
23 Village Of The Sun °°° yowling Ike replaced by rapping Ike by insert3 from 2:11.4 to 2:34.2
24 Treacherous Cretins

for dessert: Orchestra Spaziale - 2005 12 29 Cagli (PU) Italy

°°° walks additions

last time played: 
Brown Shoes Dont Make It (FZ)

thanks to arid for taping and transfering
thanks to cosmikd for seeding
thanks to Yojimbo for the fills and patches

from the zappateers vault
a walk edit
enjoy !!!
111 min, SB, A+

FZ, Ike Willis, Ray White, Arthur Barrow, David Logeman, Tommy Mars.

Chunga's Revenge, Keep It Greasey, Outside Now, City Of Tiny Lights, Pound For A Brown, Cosmik Debris, You Didn't Try To Call Me, Ain't Got No Heart, Love Of My Life, You Are What You Is, Easy Meat, Mudd Club, The Meek Shall Inherit Nothing, Joe's Garage, Why Does It Hurt When I Pee?, Dancin' Fool, Bobby Brown, Miss Pinky, Stick It Out, I Don't Wanna Get Drafted, The Illinois Enema Bandit.

Transfered and edited by arid, February 2005
(infos en français plus bas)
Soundboard -> Studer reel-to-reel 38 cm/s -> Studer reel-to-reel 19 cm/s -> DAT -> Mac G4 aiff - normalized & edited w/Peak -> CDR

Flac by cosmikd
CDR > WAV (EAC with secure) > FLAC (Frontend level 8 with verify)

This is an uncirculated version, I think there are others in circulation. An edited version has been played on FM radio (without the songs that were not yet released at the time), and the master may have been stolen at the radio station. I don't know about the other versions, but this one is very good !

Some work has been done on the first track's level. The original recording started out much too loud, then went to low, so I worked on the gain to make it sound right (there's still a little distorsion in the beginning, but I think it is unavoidable).

Tracks 18 & 25 * are two pretty long sections of enthusiastic crowd noise. I left them so you get the whole concert exactly as it has been recorded. For your listening pleasure, you may want to burn a CD without these two tracks.
Tracks 11 & 12 ** (fade-out & fade-in) were added to make a more pleasurable listening experience at the end of the first CD and at the start of the second one. When listening on a computer or any media that can accomodate more than 75 minutes of music, you can simply leave these two tracks out, so you get the whole concert in one go.

Disc 01

01 Chunga's Revenge                    06:25
02 Keep It Greasey                     03:06
03 Outside Now                         08:31
04 City Of Tiny Lights                 09:56
05 A Pound For A Brown                 14:34
06 Cosmik Debris                       04:10
07 You Didn't Try To Call Me           03:40
08 Ain't Got No Heart                  02:02
09 Love Of My Life                     01:56
10 You Are What You Is                 03:22
11 fade-out                            00:27 **

Disc 02

12 fade-in                             00:26 **
13 Easy Meat                           11:49
14 Mudd Club                           02:57
15 The Meek Shall Inherit Nothing      03:08
16 Joe's Garage                        02:23
17 Why Does It Hurt When I Pee?        02:26
18 Applause                            01:40 *
19 1st Encore                          00:35
20 Dancin' Fool                        03:21
21 Bobby Brown                         02:38
22 Miss Pinky                          03:29
23 2nd Encore                          00:41
24 Stick It Out                        04:01
25 Applause                            01:26 *
26 3rd Encore                          00:44
27 I Don't Wanna Get Drafted           02:35
28 The Illinois Enema Bandit           09:44
Teenage Wind
Harder Than Your Husband
Bamboozled By Love
Pick Me I'm Clean
Society Pages
I'm a Beautiful Guy
Beauty Knows No Pain
Charlie's Enormous Mouth
Any Downers?
Easy Meat
Mudd Club
The Meek Shall Inherit Nothing
Heavenly Bank Account
Suicide Chump
Jumbo Go Away
If Only She Woulda
According to FZShows:

3-Nov 1984, State University, Stony Brook, NY 
Early Show: 90 min, SBD, A/A- 

King Kong
Bamboozled By Love
In France
Drowning Witch (incl Sleep Napkins)
Ride My Face To Chicago
Deathless Horsie
Cocaine Decisions
Nig Biz
Alien Orifice
Lucille Has Messed My Mind Up
City Of Tiny Lights
You Are What You Is
Mudd Club
The Meek Shall Inherit Nothing
Joe's Garage
Why Does It Hurt When I Pee?
Cocksuckers' Ball
Dinah-Moe Humm
The Illinois Enema Bandit (q: Lohengrin) 

This version 93:14 SBD A+/A (subjective rating). File size 591 MB.
[*lineage unknown: CDR --> soundForge extraction --> WaveLab tracking --> FLAC Frontend level 7

[*this was selling on eBay a few years ago as a set of 3 discs combining both early and late shows, not a bad combination given that not a single song was repeated twice in the course of the evening. I've managed to get a copy through a trade. The two put together offer some 190 minutes of the 1984 material in pristine sound quality. I've split them back into early and late, and would like to seed the late show as well, pending some additional checkups and fills (as I am still missing the encore of the late). Some small tracking adjustments have been made, but no other changes. 

Here's the info file:
1984/11/03 (E) [93:14 SBD A+/A]: State University, Stonybrook, NY

01 Soundcheck 					1:04
02 King Kong 					5:26
03 Bamboozled By Love 				6:08
04 In France 					4:01
05 Drowning Witch (incl Sleep Napkins) 		9:17
06 Ride My Face To Chicago 			3:13
07 Deathless Horsie 				3:48
08 Cocaine Decisions 				2:51
09 Nig Biz 					6:39
10 Alien Orifice 				4:11
11 Lucille Has Messed My Mind Up 		2:45 (tf @ 00:09; small portion missing)
12 City Of Tiny Lights 				8:49
13 You Are What You Is 				3:57
14 Mudd Club 					2:50
15 The Meek Shall Inherit Nothing 		3:14
16 Joe's Garage 				2:23
17 Why Does It Hurt When I Pee? 		3:49
18 WPLJ 					1:39
19 Sharleena 					6:41
20 Cocksuckers' Ball 				1:57
21 Dinah-Moe Humm 				3:57
22 The Illinois Enema Bandit (q: Lohengrin)	4:35 (incomplete)

(times according to iTunes)
One Of A Kind
Just A Ballad For Woody (b)
I'll Remember April (a,b)
Bernie's Tune (a,b)

Freddie Hubbard - Trumpet, Flugelhorn
Kenny Garrett - Alto Saxophone, Flute
Donald Brown - Grand Piano
Ira Coleman - Double Bass
Carl Allen - Drums

a - w/ Dizzy Gillespie - Trumpet
b - w/ Woody Shaw - Trumpet, Flugelhorn
Source: audience
Lineage: Core Sound Binaurals> Archos Gmini 120> usb> Wave Lab> CD Wave> Flac frontend
Taper: PT
Transferred by: newspaper

Please do not remaster or convert to mp3 except for personal use. Thanks.

Disc One
1- intro
2- Passage to Bangkok Jam
3- Fortunate Observer of Time
4- All This Time
5- King Kong
6- Abyss of Dissension
7- You're Still Sleeping

Disc Two
1- The Happy Ending Shuffle
2- Reluctant Observer

3- soundcheck

Andy Sussman- bass, vocals
James Guarnieri- drums
Nick Lieto- vocals, keys, trumpet
Bill Ayasse- violin, mandolin, vocals, triangle
Steve Uh- guitar, vocals, keys
John Lieto- trombone
Taper nycsteve
Sharp MT770 ,Soundpro mics>Goldwave> CDWave Editor

Abyss of Dissention
Fortunate Observer of Time
You're Still Sleeping
Candy Korn
Waterfall Cities
Peaches in Regalia




Gypsy Hymn
Fire Lotus
Cease Fire

Pair of cm50 cardoid condenser mics -> korg d1600 recorder

Taper: Unknown 
Source: Audience
Transfer: CD-R from trade > EAC > FLAC Level 8 > you 
Sound Quality: A- in my rating and ears.... 

Disc 1
1 The Journey/Blood On The Rooftops/Black Light 
2 Cuckoo Cocoon/Two vamps As Guests/Calmaria 
3 Cavalcanti/Andante In C 
4 Bouree/Horizons 
5 Surface Tension   
6 Mood For A Day 
7 Ram 
8 Second Initial
9 Country Mix 
10 The Clap  
11 From A Place Where Time Runs Slow
12 Jekyll & Hyde  
13 Here I Wait  
14 Prizefighters
15 Imagining 

Disc 2 
1 Hackett To Bits 
2 Spectral Mornings/After The Ordeal 
3 In That Quiet Earth
4 I Know What I Like 
5 Toe The Line 
6 Sketches In The Sun 
7 Pennants 
8 Roundabout 
9 The Hunter 
10 You Can Still Get Through 
11 Reach Out  
12 When The Heart Rules The Mind 

Steve Hackett - Guitars & Backing Vocals (ex Genesis)
Steve Howe - Guitars & Backing Vocals (ex Yes & Asia)
Max Bacon - Vocals (ex Nightwing & Phenomena 2)
Phil Spalding - Bass
Jonathan Mover - Drums & Percussion (ex Marillion for a short time)
Matt Clifford - Keyboards 

One the most famous so-called "supergroups" from the 80's (also Asia and Phenomena) 
including some great musicians. Their selftitled studioalbum is a good piece of work.
From their short tour, here is a nice concert from Birmingham. 

Since I got this in a trade I dont have any info
about lineage, taping equipment etc. 

1-Jekyll And Hyde
2-Here I Wait
4-Hackett To Bits
5-Reach Out (Never Say No)
6-When The Heart Rules The Mind
8-The Hunter

Total Time = 46:13

FM (unknown lineage) > CDR > EAC > FLAC
Stanton Moore
Charlie Hunter
Stanton Moore, Charlie Hunter, Skerik and Mike Dillon

Taped and transferred by Ethan Alpert (ethan@audio-crusade.com)

Source: AKG 393 (DIN) > V2 > AD1K > DA-P1
Transfer: R500 > AP2496 > CDWave > flac
SOURCE: FM Broadcast>unknown Recording Equipment>CD transfer>trade??>EAC SECORE MODUS>FLAC FRONTEND, LEVEL6>FLAC

SOUND: A(A+ (few FM hiss present, listen to mp3 sample)

1. Desert Air
2. Crystal Silence
3. Falling Grace
4. The Raven Speaks
5. Song for a Friend
6. Icarus

Gary Burton: vibes; 
Mick Goodrick: el-guitar; 
Steve Swallow: bass; 
Ted Siebs: drums; 
+ Ralph Towner: ac-guitar

Lineage: dpa 4060 {HEB} > mod sbm-1 > jb3
sound forge 8 > flac

Gary Burton - Vibes
Pat Metheny - Guitars
Steve Swallow - Bass
Antonio Sanchez - Drums

01. Sea Journey - Chick Corea
02. B and G - Pat Metheny
03. Blue Comedy - Michael Gibbs
04. Fortune Smiles - Keith Jarrett
05. I'm Your Pal - Steve Swallow
06. Las Vegas Tango - Gil Evans
07. Hello Bolinas - Steve Swallow
08. Como En Vietnam - Steve Swallow
09. Unquity Road - Pat Metheny
Gary Burton ~ Vibraphone
Pat Metheny ~ Guitars
Steve Swallow ~ Bass
Antonio Sanchez ~ Drums

Disc 1
01. Introduction > Gary's Remarks
02. Open Your Eyes, You Can Fly (Chick Corea)
03. Gary's Remarks
04. Ojos De Gato (Carla Bley)
05. Falling Grace (Steve Swallow)
06. Gary's Remarks
07. Question & Answer (Pat Metheny)
08. Coral (Keith Jarrett)
09. Gary's Remarks
10. African Flower (Duke Ellington)
11. Missouri Uncompromised (Pat Metheny)

Disc 2
01. B & G (Pat Metheny)
02. Gary's Remarks
03. Walter L. (Gary Burton)
04. Hullo Bolinas (Steve Swallow)
05. I'm Your Pal (Steve Swallow)
06. Como En Vietnam (Keith Jarrett)
07. Encore Applause
08. Unquity Road (Pat Metheny)

Core Sound Stealth Binaural Microphones > Sharp MD-DR480H(S) >
Sound Forge 8.0 (transfer & mastering) > CDWave > flac (level 6)

Not For Commercial Use
This Recording Is To Be Traded Freely
**** NEVER FOR SALE ****

This is the last gig of the tour.  It is also the first music concert
to be performed at "The Church" - a restored church designed by John
Selkirk in 1871, construction was completed in 1876.  The church fell
into disrepair in the 1980s, was slated for demolition in the mid 1990s,
saved by community activism, and subsequently purchased and restored by
Buffalo based artist Ani DiFranco.

There was a lot of confusion regarding both the start time and the "door"
time of this general admission show.  The majority of the crowd was under
the impression that the show was to begin at 7pm, it actually started at
8pm.  Within moments Burton, the charmer, immediately put the frustrated
crowd in good spirits.

"The Church" sounds like a church and as such is in need of an acoustic
engineering firm to dampen the lively reverb of the hall and generally
tune the sound of the room.  That said, a generous application of EQ was
required to improve the overall sound of the recording and bring out
Swallow's bass.  Being the last show of the tour, the performance of the
quartet is, in my opinion, tight and well polished.

Enjoy ~ T

SOUND: A/A- (listen to mp3 samples)

1. Sunset Bell (G.Burton)* 08.14
2. Vox Humana(Carla Bley) 09.51
3. Colors of Chloe (Eberhard Weber)>Drum Solo> Doin the Pig (Steve Swallow) 18.00
4. Las Vegas Tango (G.Evans) 06.56
5. Como en Vietnam (Swallow) 08.48
6. Syndrome (C.Bley) 07.02
7. Desert Air (Chick Corea)* 05.25
8. Turn of the Century (Michael Gibbs) 09.04
9. Sing me Softly of the Blues (C.Bley) 07.32
10. Moonchild/In Your Quiet Place (Keith Jarrett)* (RADIO FADE OUT) 03.46

Genesis live, Brussels TV Studios - 20th March 1972. 


1. Fountain of Salmacis
2. Twilight Alehouse
3. The Musical Box
4. Return of the Giant Hogweed 
   (amusingly captioned as 'Return of the Geant Hogweed'!

Taken from a master PAL VHS recording off UK ITV broadcast, 
circa late 80s/early 90s.

Bonus footage (Black and White with timecode):

Piper Club, Rome - 18th April 1972: 
Interview (starts silent) / Stagnation (small clip)

Palasport, Torino - 3rd February 1974: 
"Shoes" Interview / Various live clips

Italian newsreel footage taken from master pre-broadcast VHS tapes.

The Musical Box / Interview / Supper's Ready / Interview / Return Of The Giant Hogweed / The Knife

Disc 1 
Jan 20, 1973 (Palazzo Dello Sport - Reggio Emilia, Italy)
1-1. Watcher of the Skies 8:30 
1-2. Story of Henry and Cynthia 1:59
1-3. The Musical Box 11:32
1-4. The Fountain of Salmacis 8:43
1-5. Story of Two Ladies 1:04
1-6. Get 'Em Out by Friday 9:01
Disc 2 
Jan 20, 1973 (Palazzo Dello Sport - Reggio Emilia, Italy)
2.1. Inspiration Story 1:31
2-2. Supper's Ready 23:48
2-3. A Humorous Sketch 1:56
2-4. The Return of the Giant Hogweed 8:42
2-5. The Knife 9:34
Disc 3 
Jan 22, 1973 (Palasport - Roma, Italy)
3-1. Watcher Of The Skies 7:58
3-2. Story of Henry and Cynthia (cut) 0:42
3-3. The Musical Box 11:21
3-4. The Fountain Of Salmacis 8:09
3-5. Supper's Ready Intro 1:50
3-6. Supper's Ready 23:54
3-7. The Return Of The Giant Hogweed 8:27
3-8. The Knife 9:14

Peter Gabriel- Lead Vocals- Flute and Percussion
Tony Banks- Keyboards- Guitars and Backing Vocals
Mike Rutherford- Bass Guitars- Guitars and Backing Vocals
Steve Hackett- Lead Guitars and Effects
Phil Collins- Drums- Percussion and Backing Vocals

The Charisma Festival
If anything, Tony Stratton-Smith was a firm believer that if a band was good enough to sign, it 
was good enough to promote.  At the start of 1972, he and Charisma Records had contracted with 
three up and coming bands: Lindisfarne, Van der Graaf Generator and Genesis.  All had been 
successful that year, particularly in Italy where Van der Graaf’s “Pawn Hearts” had reached #1 
in the charts while the 1971 Genesis album “Nursery Cryme” had climbed to #4.  All three bands 
were booked for a thirteen day tour of Italy. Since they already had a major hit with the album 
“Fog On The Tyne”, Lindisfarne were chosen as the headliner for this tour, but it was one of the
 warm-up bands, Genesis, that stole the show. We were in April 1972.
                Thus began the amazing love story between the Italian fans and Genesis, a much 
privileged relationship that has lasted to this day.  This tour was only the beginning ! In 
Armando Gallo’s book, “I Know What I Like”, published in 1980, Phil, Tony, Mike and Steve all 
testified as to the importance of that very first Italian visit.  Phil, on the album “Nursery 
Cryme” being a hit in Italy – “When we heard, we were amazed !  It was strange that it should 
come from anywhere abroad, considering the amount of work we had put in England !”   Tony added 
– “It gave us confidence, and made us feel that we were covering some ground, tat it was worth 
continuing, because with the rather disappointing reaction to “Nursery Cryme” in England, we 
thought that maybe we had gone off the boil !”.
                Mike also agreed – “Italy really saved us, because they reacted to that album. 
England really gave us a hard time on it !”.  Steve Hackett also feels that this first tour of 
Italy was the start of something special; stating that the first concert at Reggio Emilia was 
one of the most powerful concerts that the band has ever played.  Needless to say, Reggio would 
become a favourite stop on later tours.  Steve adds – “The gigs there have always seemed like 
complete events, always spiritually there !”.  In any case, the huge success of these thirteen 
nights brought an enormous boost to the band’s morale and gave proof to Tony Stratton-Smith that
 he had not misplaced his trust.  Genesis would soon be rewarded by the Charisma office.  
Headliners they would become.
                Since Stratton-Smith was never one to rest on his laurels, another eight night 
Charisma Show tour of Italy was booked for August 1972, Lindisfarne taking only second billing 
this time.  In only a few months, Genesis had taken over as THE Charisma act to see. Again, that
 series of concerts proved an enormous success, strengthening even further the bond that had 
developed between them and the Italian fans.  As a reminder that Italy had a special place in 
the band’s heart, Genesis would often treat the Italian audiences with songs that they scarcely 
performed anywhere else.  Such was the case with “Seven Stones” and “Can-Utility And The 
Coastliners”, hardly ever performed in concert at all, Both played in Genoa on that tour.
                In any case, that new Italian sojourn was again a much needed morale-booster for
 the band, as well as a considerable confidence-builder.  In the 1991 Music Documentary 
“Genesis – A History”, Mike Rutherford added – “England was giving us a hard time and Italy was 
greeting us with open arms, so we felt the more time we spent there, the better !”.  The growing
 success of these Genesis gigs in Italy began to attract attention. Fans in France, Belgium, 
Germany and eventually even England began to take notice. With America as the next goal, 
Charisma booked two U.S. concerts late in 1972, but it was almost four months before the band 
returned for a more extensive North America tour.  Genesis would return to Italy one more time 
in the interim.
                With a new album under their belt, the superb “Foxtrot”, yet another European 
Charisma Show tour was booked for January of 1973.  Genesis would perform only two Concerts in 
Italy that time around, but these two nights would forever remain in the hearts of both the band
 and the Italian fans. The two concerts, billed as “The Charisma Festival”, took place at the 
Palasport in Rome on January 22nd and at the Palazzo Dello Sport in Reggio Emila on the 20th.  
In Rome, Genesis headlined their biggest concert ever, playing in front of 18,000 people.  
It would eventually take them another three years before they could achieve the same feat in 
England or North America.  But for these two very special nights in Italy, the stage was set 
for Genesis, and they most certainly did not disappoint.  In fact, many believe that the band 
was really ‘made’ on these shows.
                Thanks to two avid fans who recorded these two gigs, and to modern digital 
technology, which enables us to correct many of the defects inherent to early 70’s portable 
recording equipment, we can now bring you this very special 3 CD set that will allow you to 
re-live the magic of these two memorable evenings with Genesis.
                As you will hear, the set list for both shows was almost identical.  Only one 
number was added in Reggio that was not performed in Rome, “Get’Em Out By Friday”.
                We have attempted to restore these great recordings, to the best of our abilities,
 to bring you the best of what we believe to be a milestone event in the career of Genesis.  
We hope that you will enjoy them as much as we enjoyed putting them together.
Notes from the Re-Master

            These two shows both came to us as CD copies of the master tapes used to record the 
events. The Rome show had a great deal of hiss that needed to be reduced. Multiple techniques 
were used to achieve a satisfactory result. Multiple microphone bumps occurred and needed to be 
masked or removed. A significant asymmetry between the two channels initially existed and needed
 to be corrected. The audience was quite loud in many sections so their contribution to the 
audio was reduced where appropriate.
            Splices were probably made in the original tape because the beginning of ‘The Story 
of Henry and Cynthia’ is missing. This fact suggests that we may have a 1st generation source 
instead of the true master. We also found that the audience applause faded to zero after a few 
songs, again suggesting this was a first generation tape with components spliced out to fit on a
 cassette. Audience applause was mixed in at these points to allow for a continuous feel to the 
            The bass components below 80Hz were quite overwhelming at times and therefore reduced
. Many pops and occasional episodes of feedback occurred and were removed. Finally, a (presumed)
 tape-flip gap occurred at one point in the show and needed to be patched. A segment from the 
following night’s performance was used to fill this gap. Of course I hope that you can’t tell 
where it is so I won’t spoil your listen by pointing it out.
            The Reggio show also had quite a bit of hiss that needed to be reduced. The extremes
 of low bass and high treble were both excessive and brought into line. Like the previous night’s
 show, many claps and yells were distracting and were reduced in volume. Many pops and clicks 
occurred and needed manual removal. A buzz was present in the middle of the show and was reduced
 using an inversion-cancellation technique. A brief tape stretch artefact was found at one point
 and minimized as much as possible. Track lengths from both shows were checked and no pattern 
was found to suggest inappropriate recorder speed so no speed correction was needed.

PRRP Staff
1. Opening Credits
2. Watcher of the Skies
3. Dancing with the Moonlit Knight
4. I Know What I Like
5. The Musical Box
6. Supper's Ready
7. Closing Credits

Plus Easter Egg!

Pro-shot film, footage digitised frame by frame direct from 16mm master reel to PAL 25fps. (See below for exact details!)

Source: King Lerch and the members of MeeksGenesis

Video Transfer, Source Clean Up, DVD Authoring and other general extreme hard work : King Lerch

Audio Remastering: SAB (DanLore)

Artwork: RH Productions

Adam's Production Notes on "Genesis @ Shepperton - the 16mm film":

I originally thought I should not create an essay like this as it is rather pretentious and long-winded. I certainly don’t expect most people to read or even be interested in it. But I know that if I don’t write down the process when I am able to remember it, I most likely won’t be able to remember it at all when someone does ask something about it.

As a quick summary, this source was not perfect and suffered from some damage. Also, this is a dark 16mm film not Hollywood film quality. I did the best I could, learned a lot about the process, and never took shortcuts. A big thanks to Gunnar Thalin, the Swedish video expert who helped with great information. Several times I went back to the first step all over again to compare and get the best possible final product.

Test versions were sent to 4 testers in different parts of the world. Their suggestions were some of the best I’ve ever received and I was able to incorporate almost all of them. As one of the testers said, “This may not be the holy grail…but it is his older brother.”

It was over 6 months ago when I noticed a 16mm Genesis film was being auctioned from a NY estate sale. There was no way to be sure of the contents, quality, authenticity, or value. After discussing it with some collectors I know, I was prepared to make a high bid. But adding the costs to do a proper transfer, I didn’t know if my bid would be high enough to win.

Then I read that a small group wanted to pitch in and buy this film. Rather than bid against each other, we thought it was much better to join resources. We were able to come up with enough to make a substantial bid and help pay for the transfer as well.

It was explained that no one had any idea of the film’s condition. It could be damaged, worse than existing copies, untransferable, etc. We all took a risk in hopes we could benefit from a great film, or reduce the losses if it was not good. We won the auction, sent a huge money order, received the film, packed it up again, sent it fully insured to the lab, and hoped for the best.

The source was a 16mm film shot at 25 frames per second. It is Kodak date coded with a triangle and plus which indicates 1973. This is significant in that it is not a recent production or a copy of a copy. However, there are old Kodak films that suffer from “red shift” where the organic parts of the film change over time leaving extra amounts of red. This film was no exception.

Although I don’t remember where I got this information, I remember hearing that several copies of this concert were printed on 16mm film for distribution to schools or small theatres. It is unknown how many of these films exist or where they were used. There is no doubt in my mind that these are a professional production, and a distinct “Charisma Reel One” can be heard at the very beginning of the film.

[UPDATE: I spoke with a friend about this film and he only recently mentioned that he saw this film not just on video but in the spring of 1974 on 16mm. He is the only one I have spoken to who has actually seen this film in regular use. It was at an Atlantic Records hotel suite at a national college radio convention in NYC. They dimmed the lights, wheeled out a 16mm projector, and showed the film on the wall. Everyone thought it was amazing. More amazing is that our print from "a NY estate sale of someone in the music business" is possibly the exact same print.]

Also, there are artifacts in the film like spots, marks, etc that are on all copies of the film. These are not removable or cleanable, just a clue that all of these films have the same “parent”. Another clue that these 16mm film(s) have the same source is the audio.

16mm audio is very distinct. Not only is it rather poor quality, but because of the unique 25 fps speed it is often played at the more common 24 fps speed where the sound is 4% slow. All of the sources we have seen (correct me if I am wrong) such as the Old Grey Whistle Test, Speakeasy, documentaries, etc all have this 16mm audio. If something better than a 16mm film exists, it is not easily available.

Because the 25 frames per second film matches perfectly the PAL video standard, a 720x576 transfer was done. This has better color than NTSC, 100 more lines of resolution, and does not require any speed changes or frame blending.

The film was slowly projected 1 frame at a time directly onto the 3CCD chip of a PAL DV digital video camera. This allows corrections for brightness and color with each frame of film and gets the most detail. Instead of trying to catch 25 constantly moving frames per second, this process can examine each frame as slow as necessary.

The biggest disadvantage of the frame-by-frame transfer (other than the higher cost) is that sound cannot be captured at the same time. It must be added later. Also note that with my agreement the transfer lab did a 5% underscan of the film with a small black border around the edges. Since TVs usually overscan by 5%-10%, this keeps more of the picture viewable without zooming.

The sound from this and most 16mm films is printed along the side of the film like waveforms. This is read by a bulb in the projector so the quality is not great, somewhere around a 8.5 kHz spectrum. The sound remastering was done by SAB so I don’t know all of the specifics. I know he was able to get a great result from a mediocre 16mm source. It has a stereo simulation and increased low end which adds great depth. I corrected the sound for speed and pitch, the first time for this concert that I know of.

The first major task was to correct the color. The amount of red in the film is simply ridiculous. It washed everything else away. The color red is also the most difficult for compression and encoding software to deal with. It causes unnatural lines, compression artifacts, almost all video problems show themselves in the color red (lucky us). To see just how red the original film was, look for the DVD Easter Egg.

It appears as if on previous film transfers that this red was reduced, but much of the image details reside in the red so it cannot just be turned down. I struggled with the color for a long time and did several comparisons to A History video to get it as close as possible.

Also, the film is not 100% consistant. Some parts are redder than others, some are brighter than others, etc. So certain corrections could not be applied to fix one scene without adversely affecting another scene. And as a general rule, all changes have at least one side-effect. So a happy medium had to be reached between redness, detail, noise, brightness, darkness, etc. All color was changed with TMPGEnc.

I used a few filters with VirtualDub and AVISynth. Each filter was applied with only lossless compression (averaging 10-30GB / 15 minutes of video) so more filters did not reduce image quality. I won’t go into every filter but the most major improvement was from the Temporal Smoother.

Most films are 35mm (4 times the size of 16mm) or even larger. So when this 16mm film is expanded on large TVs, the film grain can be seen in the form of dots or blobs of color. When watching the raw film, it looks as if non-moving objects are bubbling or crawling or something. The Temporal Smoother looks for these spots that show up for only one film frame and smoothes them out. The image and structure are more visible but the effects of video noise or grain is significantly reduced.

Sound Sync
Because of the slow film transfer, sound had to be added afterward. This was a long process for several reasons. One reason is that two transfers are never exactly the same. Even a small change in speed would lose total sync by the end of the film. The other problem with this film is that it was recorded over 2 days. While the sync may look good during one part of the song, it may not exactly match another part of the song from the other day.

The first sync pass was done entirely by sight. As a double check, I examined sound frames from other real-time 16mm film transfers to verify accuracy. It should also be noted that at 25 fps, each frame of film covers 40 ms of sound. While this may not seem like much, being off by only a few frames of film can be very distracting.

I used Pinnacle Studio for the syncing and also the credits. This program is great in both features and bugs. Still I really like it. Over 100 of my rare photos were scanned to create interesting credits.

In order to work with the DVD standard, the film had to be compressed into MPEG-2 format. To do this I used the trusty TMPGEnc at a constant bitrate of 8000 MBPS. This compressed the film for DVD while retaining the closest possible result to the source. Also note that the total maximum bitrate allowable for DVDs is 9800 MBPS, more than 1500 MBPS of which is taken up by the uncompressed PCM audio. So 8000 MBPS is the true maximum for the video.

As a test I ran TMPEnc see what it “thought” the ideal bitrate would be before compression would begin to alter the image. It calculated 6500 MBPS so any differences from the DVD compression should only be a result of the MPEG-2 or TMPGEnc limitations, not bitrate.

Because many people cannot use PAL DVDs, I thought it would be best to create an NTSC version too. This will have slightly lower quality at 720x480 and a converted frame rate of about 30 frames per second, but using the source video transfer will get the best possible result, much better than converting the PAL DVD later and compressing twice.

Converting from 25 to 30 frames per second is not easy. Most hardware and software that simply duplicate frames make very stuttery video. So for the PAL -> NTSC transfer I used Canopus ProCoder. This is a highly respected transfer program that converts the frame rate, blends frames when necessary, and creates very smooth running film.

However, my personal opinion is that the MPEG-2 tools in ProCoder alter the source too much so I again sent the lossless result from ProCoder over to TMPGEnc for DVD compression at 8000 MBPS.

There are many programs to author DVDs and although I know it is not the best, I use DVD Workshop because it is very compatible and I am used to using it. I created a great custom menu with motion buttons, film motif, and background music to go with the credits.

I have worked on more than 15 film transfers and countless video transfers. Honestly, this project (Genesis at Shepperton) has taken much more time than I ever expected and had many more film problems than any I have seen. But my goal was not to have a perfect DVD nor is this possible. There are 1,000 ways to do things and it would take years to explore them all.

What I wanted was a Genesis film transfer that was significantly better than any that came before and one where I didn’t say, “I wish I would have done…” So I read a lot, did everything I knew how to do, and talked to several experts. I give you the Holy Grail…’s older brother.

- King Lerch

Original Comments: (these comments were provided with the original download.
My thanks and appreciation to the individual who provided this show).
"This is a gem in my collection. Played at the Drury Lane Theatre in London, this 
is a very complete show from the SEBTP tour; if only it had "The Knife," it 
would have nearly every song they ever played on this tour. Not only does it 
have the valuable (valuable!) "Harold the Barrel," it also features the complete 
piano intro for "Firth of Fifth." The intro story for FoF is the Tube Train 
Story, also featured on the liner notes to the Live album; this was a rare story 
for Pete to tell. In his "Moonlit Knight" story, Pete mentions the Knights of 
the Green Shield; another thing he didn't usually do. Someone in the audience 
(probably the person recording this, as they are so audible) very prophetically 
shouts for "Harold the Barrel!" right before Pete introduces that song. Part of 
the beginning of the stories for both "Box" and "Supper" are missing; in the 
intro for "Box," Peter engages in a short dialogue with one of the audience 
members. The sound quality is fairly clear, there's not intrusive crowd, and 
there's not too much noise in the way of crackles or pops. In the intro for 
"More Fool Me," Phil quips that they are "available for weddings." He seems to 
have had a different joke ready for every introduction for this song; the oddest 
by far must be his "a little less like a painter with a jacket on" remark during 
the Rainbow Theatre show of October '73 (although had I been there it might have 
made more sense).


Revised Comments:

This show was downloaded in shn format from SHNGenesis hub form Lechevalierdelalune 
(many thanks). The original shns were quite hissy and had gaps between the tracks.  
The shns were converted to wav using mkwACT 0.96f.  The tracks were then merged
using audio cleaning lab 3.0.  The gaps were removed using WaveLab Lite.  Dehissing 
and other slight restorations were performed using Pinnacle Clean.  The wav was recut 
to individual tracks using audio cleaning lab, and again slight modifications were 
made to individual tracks using Clean.  the wavs were then converted back to shn using 

The show still sounds very MONO.  I attempted to use various "stereo expanders" and 
fiddle with different ways to seperate the channels, but these methods produced way too 
much distortion of the original sound, so modifications were very slight.

TRACK LIST:       

1-01 Watcher of the Skies
1-02 Intro: Moonlit Knight
1-03 Dancing With the Moonlit Knight
1-04 Intro: Cinema
1-05 The Cinema Show
1-06 I Know What I Like (in Your Wardrobe)
1-07 Intro: Firth
1-08 Firth of Fifth
1-09 Intro: Harold
1-10 Harold the Barrel

2-01 Intro: Box
2-02 The Musical Box
2-03 Horizons
2-04 Intro: Fool
2-05 More Fool Me
2-06 The Battle of Epping Forest
2-07 Intro: Supper
2-08 Supper's Ready


1-1. Watcher Of The Skies 5:16
1-2. Story Of Britannia 2:05
1-3. The Nick And Michael Sketch 2:36
1-4. Dancing With The Moonlit Knight 8:55
1-5. Story Of Romeo And Juliet 2:28
1-6. The Cinema Show 11:41
1-7. I Know What I Like 6:13
1-8. Story Of Five Dead Bodies 2:12
1-9. Firth Of Fifth 10:19

2-1. Story Of Henry and Cynthia 2:11
2-2. The Musical Box 11:35
2-3. Horizons 2:26
2-4. Story Of Old Michael 4:09
2-5. Supper's Ready 24:35

Peter Gabriel- Lead Vocals- Flute and Percussion
Tony Banks- Keyboards- Guitars and Backing Vocals
Mike Rutherford- Bass Guitars- Guitars and Backing Vocals
Steve Hackett- Lead Guitars
Phil Collins- Drums- Percussion and Backing Vocals

"An Eventful Evening"
        Genesis was on a roll. They were in the middle of the “Black Show” leg of the Selling 
England by the Pound Tour. This trip had begun on March 1st in New Jersey, taking them to 
Indianapolis, St. Louis, Kansas City and Detroit before moving on to Canada. The present 
performance features the band’s stop in Detroit, one that would be quite memorable for 
musicians and audience alike. The Motor City was always a prominent stop for all progressive 
rock bands of the time. In fact, the city had hosted the band Yes just 6 weeks earlier; a show 
that we at PRRP featured in release #013. Genesis were quite eager to make their mark there as 
         Unfortunately for the band, many problems occurred during the show. Equipment failure 
for one thing became a major problem for the guys that night. But Genesis was used to equipment 
problems, so Peter Gabriel was experienced in the art of improvising and joking around with the 
audience. In fact, there is good evidence that the telling of stories between songs originated 
as a way to allow time for equipment warm ups and tuning and the correction of problems. The 
stories would reach unparalleled length that night in Detroit! Right after the telling of the 
Story of Brittania a buzz started to emanate from Mike Rutherbord’s equipment which prompted 
Peter’s improvisation narration of the “Nick the Rodie and Michael the bass guitarist sketch”
          As Nick and Mike frantically tried to remove the offending sound, Peter made their 
job even more difficult but providing the audience with a very amusing play-by-play. Gabriel 
was just about to direct Phil Collins in the renowned ‘one-handed drum solo’ to buy some more 
time but this was not necessary as the buzz was just then dismissed. Equipment failure would 
keep on plaguing the band throughout the entire show, but the most disturbing event of the 
evening came in the form of a very rude verbal attack from a member of the audience. In the 
middle of the Story of Henry and Cynthia, someone shouts out “your mother eats shit, shut the 
fuck up”. Always quick witted and unflustered, Peter calmly assures the man that his mother 
does no such thing. Then, Phil suggests that the gentleman find the nearest bar if he wants to 
continue such behavior. To this point in their career, this was probably the most inappropriate 
audience behavior the band had ever faced. 
          Fortunately for the rest of the audience, and ultimately for us, this incident, in 
addition to all the equipment problems, did not seem to disrupt the band’s concentration. 
Genesis offered a stellar performance of each and every song that night. The set was well known 
by this time in the tour and therefore the timing and cohesiveness were quite remarkable. So 
enjoy this wonderful show. It is somewhat unusual for its many problems, but certainly note 
worthy for its performance quality.

Notes from the Re-Master

This show was taken from two, second generation cassette tapes of good quality. Viable music 
signal was found up to 10,000 Hz. Highs are crisp and clear as evidenced by the tonality of the 
flute and small cymbals during Firth of Fifth as well as the small cymbals used during The 
Musical Box. A tape flip gap of over 70 seconds was found in The Musical Box. This was patched 
to provide a complete song. Another gap was found in I Know What I Like and also needed a patch. 
The first tape ended in the middle of Supper’s Ready but tape two had the complete song which 
was grafted onto the rest of the show.
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The general noise level of hiss was moderate but there was also a separate rolling 
hiss which varied in volume and also needed to be reduced. A combination of techniques was used 
to address both of these problems and reduce the level of noise to an acceptable level. 
Unfortunately for the band, the show was marred by a number of technical problems. After 
Dancing with the Moonlit Knight a buzz develops. This was left in the final version of this 
show because Peter Gabriel comments on the buzz and this leads to the “Nick and Mike Sketch” 
which we labeled Track 3. When it recurs, it was diminished as much as possible. Intermittently,
 the left channel lost volume and needed correction. Tonality within the left channel also 
needed to be corrected within these low volume sections. Occasional pops and short drop-outs 
were fixed and applause was lengthened at the end of some sections.

1. Watcher Of The Skies 6:35
2. Story Of Brittania 1:45
3. Dancing With The Moonlit Knight 8:47
4. Story Of Romeo & Juliet 1:53
5. Cinema Show 10:54
6. I Know What I Like 5:24
7. Horizons 1:47
8. More Fool Me 3:21
9. The Battle Of Epping Forest 12:23
10. Story of 5 Rivers 1:57
11. Firth Of Fifth (end cut) 6:03
Disc - 60:49

The Selling England by the Pound tour began in August of 1973. Already a popular group in Europe
 after the Foxtrot album, Genesis would finally receive significant recognition in the United 
States with the tour promoting this new album. The Band focused heavily on touring American 
college campuses, referring to the white and black shows depending on the stage backdrop used at 
the time. Mike Rutherford: "We've always gone down well in the big industrial cities of the East 
Coast and Mid West (America), maybe because of the element of fantasy and escapism in our shows."
Genesis played at McGraw Hall at Northwestern University in Evanston, Illinois on December 3, 1973
during the white show leg of the tour and were well received. Taking time off only for the 
Christmas holiday, the band then continued with shows in Europe. By March of 1974 they found 
themselves back in the United States for the black shows and were booked to play Northwestern 
again on April 17th.  There is some controversy over the exact date of this show with some 
evidence suggesting that it occurred on April 27th. 
This CD contains part of that show. The recording is known to be incomplete and many of the songs
 here were also played by the band during their previous visit to Evanston in December. This has 
led to the speculation that the recording is actually from the December 1973 show. However, this 
is unlikely since 'Horizons' and 'More Fool Me' were not known to be performed during the earlier
 concert and they are present on this recording as back to back tracks. This track order did not 
occur often on the Selling England by the Pound tour making Evanston '74 a special show because 
of this fact.

Notes from the Re-Master
	This recording was made with audience microphones. These microphones produced both a 
baseline hiss and a high frequency, volume dependent hiss. Each had to be eliminated separately.
  Generally, the frequency response was quite good for the equipment used at the time. The 
frequency range needed some adjustment to give the recording good detail and clarity. At one 
point during 'Battle of Epping Forest' the mid and high frequencies became degraded and almost 
completely lost in the left channel. This could only be incompletely corrected. Finally, the 
last song "Firth of Fifth" fades out during the guitar solo. No complete recording of this show 
is known to exit.

1-1. Watcher Of The Skies 9:00
1-2. Story Of Britannia 1:27
1-3. Dancing With The Moonlit Knight 9:03
1-4. Story Of Romeo and Juliet 1:38
1-5. The Cinema Show 11:22
1-6. I Know What I Like 6:35
1-7. Story Of Five Rivers 1:26
1-8. Firth Of Fifth 10:17
1-9. The Story Of Henry and Cynthia 1:47
1-10. The Musical Box 11:25
2-1. More Fool Me 4:08
2-2. The Battle Of Epping Forest 13:04
2-3. The Story Old Michael 3:11
2-4. Supper's Ready 24:22

The Overlooked Night&nbsp;
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; For Genesis, the final three months of 1973 were spent touring and promoting their latest album Selling England By The Pound. The new show had 
been warmly received in Britain but the band’s biggest challenge lay ahead as they set out to conquer the North American continent at last. Since their 
first appearance on American soil, in December the previous year at New York’s Philharmonic Hall, some 17 shows during the subsequent Foxtrot tour had 
begun to create a cult around the Genesis name and American audiences were already falling under the spell of the band’s music and Peter Gabriel’s 
bizarre onstage antics. This time, with a brand new album under their belt, Genesis were keen to draw audiences from all over the continent in an effort 
to crack the American market. They were scheduled to perform 25 shows, kicking off in the eastern parts of Canada and the US, and leading them all the 
way to the west coast with a memorable stay at the celebrated Roxy Theatre in Los Angeles, California, where they played no less than six concerts in 
three nights.
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; During the short Foxtrot North American tour of 1973, Genesis had visited the city of Montreal, Canada, for the first time. The band would never 
forget this first contact with the province of Quebec and the warm welcome they had received there so they very naturally chose to play in Montreal 
again during the first leg of the Selling England By The Pound tour in the fall of 1973. They played the University Sports Centre on November 10th, to a recept
ion even greater than the previous year’s, and they made a promise to return there before too long. After a short break over the Christmas holidays, 
Genesis set out on the second leg of the Selling England tour, with a lengthy series of dates in Europe, before crossing the Atlantic again to add some 43 
new shows to their North American crusade, including two memorable evenings in Montreal. If the band members would recall the 1973 Roxy shows as 
being some of the finest Genesis performed, they would also remember Montreal’s enthusiastic response, making this city a favored stop for years to 
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; By the time Genesis made good on their promise and returned to Montreal on April 20th, 1974 for a two-night stay at the University Sports Centre, 
the Selling England By The Pound tour was nearing its end. As a bonus to fans of the band, the province’s hottest rock radio station, CHOM-FM, had 
arranged to broadcast the second night’s show. With this Montreal concert being one of the only two complete broadcasts of the Selling England show 
(the other being the famed London Rainbow Theater concert from October 20th, 1973), home recordings of this show would become highly sought-after 
prizes among collectors and numerous LPs and CDs of this show have been released over the years. Nowadays, thanks to the wonders of the internet, a 
few high-quality versions have finally surfaced, one of the best of which is the FADE remaster release of 2003. At last, the fans can enjoy a recording worthy 
of this outstanding Genesis performance but should that be all we remember from the band’s memorable stay in Montreal?&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
	With the emphasis being on locating the best possible version of the April 21st radio broadcast, the previous night’s performance seems to have
 been overlooked over the years. Thanks to the efforts of a devoted fan, a recording of that first night does exist and it is this particular concert which we 
bring you here, at last in remastered form. As this was originally a much bruised audience recording, a great deal of hard work was needed to correct its 
many faults and we are sure that you will listen to this new version with keen interest. French-speaking fans will have a ball comparing the two nights as 
Peter Gabriel’s spoken French noticeably improves from one night to the next…perhaps he received some heavy coaching on the afternoon of the 
second show? And let us not forget the unknown audience member who, right in the middle of ‘The Cinema Show’, proclaimed: “This is even better than
 Pink Floyd”! Apart from ‘More Fool Me’ which was replace on the second night with ‘Horizons’, the setlist was identical for both shows, as was the 
reception from the fans. And, if, as can be expected, there are tiny differences in the performances from one night to the next, noticing these will 
undoubtedly be a big part of the fun of discovering what happened on that “overlooked night”! Enjoy!
Harold Demure
Notes from the Re-Master&nbsp;
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The only complete copy of this show known to exist is a 1st generation cassette. For this project, we began with a CD version of this tape. There 
were two tape flip gaps present but otherwise the complete show was captured. This is generally considered a good quality recording but with the 
limited audience microphones available at the time, it is not surprising that there is no consistent signal much above 8,000 Hz.
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The first major problem that needed to be addressed was the tonality of the show. The Bass was quite excessive and needed dynamic adjustment 
because the excess varied throughout the show. The location of the taper also caused an echoic, upper bass excess that was also reduced. This helped 
to make Peter Gabriel’s stories more intelligible. At some points the tonality changed abruptly suggesting that the taper had to hide the microphones. In 
these situations, the midrange and treble were corrected as much as possible. Finally, the treble was quite hyper-dynamic but a de-esser filter was helpful 
in smoothing the response.
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The other major problem was the noise. The baseline hiss was reduced using standard techniques. The settings to reduce hiss for the last segment 
of the show were difference suggesting that the tape used to record this segment had different characteristics. There was also some peak-specific noise 
in the left channel that occurred intermittently that required selective removal. Lots of clicks and pops occurred and were removed as were microphone 
bumps and excessive claps that suppressed the volume of the show intermittently. Dynamics were adjusted both to correct these suppression problems 
and also to enhance the listening experience. A speed check disclosed no need for speed correction and at that point the show was re-tracked and 
Set I
Watcher of the Skies
Britannia story
Dancing with the Moonlit Knight
Romeo story
Cinema Show
I Know What I Like
5 Rivers story
Firth of Fifth
Henry story
The Musical Box
More Fool Me
Old Michael story
Suppers ready

Set II
WBCN radi studios;
More Fool Me
Interview with Mike & Phil

The Show

This evening's performance in the middle of the 2nd American Selling England tour was frustrating and brilliant at the same time. The equipment problems that plagued this tour were particularly bad this night, and at times you can hear Gabriel and Colins losing some of their usual tolerance in the face of continual microphone problems. Gabriel comments at one point that "we'll go professional next week", and Colins; "I bet you wish you'd gone to the pictures". The intro to 'I Know What I Like' is aborted at one point. 

Never-the-less, this is a great musical performance, and one of the better recordings of a show from this tour. Firth of Fifth is given a particularly emotive performance, and Phil varies some of his vocal lines in More Fool Me nicely. 

There is also an interview with Mike and Phil, inlcuding the end of their performance in the studio of 'More Fool Me', which was broadcast on Boston's WBCN radio, and which seems to be previously unknown.

The Recording

This recording has been remastered from Steve Hopkins' transcription of his master tape, which he generously sent me. The recording was made on a Sony TC-55 with built in condenser microphone. The tape was transfered using a Nakamichi DR-2 cassette deck to Sony TCD-60ES  DAT recorder at 44.1KHz with Super Bit Mapping (which really improves the clarity of the sound), before being transfered to CD. 

The recording is mono, but clear and with significant detail. The only limitation with this tape is that it does not represent the entire show, as The Battle of Epping Forest, and possibly Horizons (if they performed it this evening) are missing. There are also a few minor edits in the recording, and one of these may have omitted Phil's one-handed drum solo, which one is tempted to think they must have performed given the amount of technical difficulties. 

This recording has been widely in circulation, most commonly through the Highland disc 'More Fool Me'. I don't have a copy of this, but my impression is that while it is a complete transcription sourced from a low generation tape, it is very bright in the upper midrange, and lacking in richness in the bass. The master tape by contrast, is more balanced overall, and with a rich bass presence.

The afternoon before the show, Phil and Mike came into Boston's WCBN studios, performed 'More Fool Me' and gave a short interview. This interview has not been previously in circulation, but Steve had a recording of it, unfortunately missing all but the last 50 secs or so of 'More Fool Me'. But at least it exists and is included in this release. 

The Remaster

I took only one channel of Steve's transcription, so as to optimise for mono. I denoised the recording minimally, mostly just to sharpen up the treble a little. Eq balance was pretty good, although I attenuated the lower midrange a little around 200Hz to compensate for a slight boxiness in the microphone. 

I have made a few small crossfade edits at points where the tape was turned on and off during some of the technical hold ups in the show to provide a little more continuity. I cannot pick the point at which Epping Forest is missing from the recording, I assume it must have been played, especially as Phil and Mike comment in the interview about the show running nearly two hours - this recording comes in at just over 90 mins. 

There are also a few squeaky noises on the master recording, which may come from the cassete recorder, or even the seating at the venue. These sounds were quite distracting, so I have removed them. There was a very noticable one at the beginning of Tony's piano intro to Firth of Fifth, and others in the opening section of Musical Box. 
Watcher Of The Skies
(Britannia Story)
(One-Handed Drum Solo)
Dancing With The Moonlit Knight
(Romeo Story)
Cinema Show
I Know What I Like
(5 Rivers Story)
Firth Of Fifth
(Henry Story)
("Some In Betweens, Phil")
The Musical Box
The Battle Of Epping Forest
(Old Michael Story)
Suppers Ready

The Concert

This was the second last concert of the Selling England by the Pound tour. The band had been performing this music since October the previous year, some of it for much longer. What we hear is not only a finely honed rendition of some of their best music, but an exhilarating performance. And what adds interest for us was what plagued the Genesis crew at the time - equipment problems. Not only is Phil's One-handed drum solo routine given an amusing airing, but later in the concert, Phil leads an impromptu improvisation while covering for another running repair. 

And their equipment woes didn't end with the gig. Phil comments at one point during the concert "even the unexpected happens tonight..." Little did he know. Later that evening all the band's guitars were stolen, to be returned the next day after a little bribery, allowing the performance of the 6th May to go ahead. On that last concert of the tour, Peter describes the incident, in typically amusing fashion - however I'm sure they didn't feel that way the day before. 

From a friend who lives in New York, I have been told about the venue: "its offical name was 'Howard Stein's Academy of Music', the place where so many famous bands played, Nektar, Renaissance etc. I think it was on 14th Street. It was sold in 1976 and re-named 'The Palladium'."

In my opinion this concert may be regarded as one of the finest Selling England shows they performed, and it is a great fortune that we also have one of the best recordings of the tour to document it. 

The Recording

This audience recording is absolutely superb. Clear open detailed sound, with good dynamics and very little hiss or distortion. Given this quality of sound, the matter of it being a mono recording becomes irrelevent. 

The recording documents nearly the whole performance. However, there are two major gaps; the first, a minute and a half missing during from middle of the instrumental section of Cinema Show, and the other, the last third of Battle of Epping Forest. These would be sad losses from an otherwise great recording, if it wasn't for the existence of an almost comparable quality recording from the same venue on the 6th. This recording, to my knowledge, is incomplete, cutting the end of Cinema Show, and finishing with Epping Forest and so missing Supper's Ready. However by good fortune, it does cover those sections missing from the tape of the 4th. So I have spliced in the missing sections from this 6th May tape. 

Hence this recording gives the complete show, to the extended applause and playing of Albinoni's Adagio that conclude the concert. 

The best known version of this concert in circulation is the Highland release: 'Voices in the Academy'. Recently, a CDR 'from VHS copy of master reels' has been circulating. This new version is a huge upgrade on the Highland version, and begins to show the quality of the original recording. Highlands source by comparison is hissy, muddy and with a 'bubbly' texture (minor dropouts). 

Recently I was sent a 1st generation tape from an American collector who has had his tape for a long time. Many years ago he did a trade with a Canadian collector who insisted on a VHS dub of the tape. Comparing this 1st gen tape and the 'from VHS' CDRs, I believe it is a fair bet that the new CDRs come from the VHS tape dubbed from this tape. Certainly this 1st gen tape is clearer and more open than the CDs. 

The Restoration

This was a fairly straight forward recording to remaster, requiring little serious repair work. I began with a new transcription of the 1st gen tape, optimising for mono and giving a little boost to the bass harmonics.

I have chosen to denoise very slightly (-4Db) and also bring out the treble a little more cleanly. If you compare with the 'from VHS' CDs, you will hear the extra brightness in the top end, with marginally less hiss. The excerpts from the 6th May tape were spliced in, eq balancing and repitching that recording, as it was about a half tone flat. 

The Academy of Music is a lovely old venue that has a rich warm acoustic. I have complimented the recording with a little reverb, matched to that of the venue, and opening up the mono soundstage with some early reflections.
Label - Digital Brothers Productions
Comment - Remastered from Joe Maloney's master tapes.

CD 1 - 53:39 ; CD 2 - 70:38

1-1. The Story Of Rael (prt 1) 1:20

1-2. The Lamb Lies Down On Broadway 5:16

1-3. Fly On A Windshield 4:12

1-4. Broadway Melody Of 1974 0:32

1-5. Cuckoo Cocoon 2:12

1-6. In The Cage 8:09

1-7. The Grand Parade Of Lifeless Packaging 3:04

1-8. The Story Of Rael (prt 2) 2:05

1-9. Back In N.Y.C. 6:12

1-10. Hairless Heart 2:14

1-11. Counting Out Time 3:42

1-12. The Carpet Crawlers 5:41

1-13. The Chamber Of 32 Doors 5:48

1-14. The Story Of Rael (prt 3) 3:06

2-1. Liliwith Lilith 2:52

2-2. The Waiting Room 6:20

2-3. Anyway 3:24

2-4. Here Comes The Supernatural Anaesthetist 5:19

2-5. The Lamia 7:08

2-6. Silent Sorrow In Empty Boats 3:06

2-7. The Colony Of Slippermen 8:32

2-8. Ravine 1:53

2-9. The Light Dies Down On Broadway 3:39

2-10. Riding The Scree 4:24

2-11. In The Rapids 2:07

2-12. It 4:56

2-13. Story Of Henry & Cynthia 2:37

2-14. The Musical Box 12:06

2-15. After Show Music (Old Man River) 2:07

Special Thanks
This show was a true fan team effort! 
Special Thanks go to Joe Maloney and his good friend Jamie for providing the tapes and amazing photo's 
and full 
support for the creation of this show. Also Roger and Paolo "The Digital Brothers" for the 
superb re-master job. Halley "The Genesis Goddess" for creating the 
fantastic artwork. And finally head 
honcho Meek of Meeksgenesis for organizing another quality Genesis project to the fans .

Technical Notes 
on the Boston Lamb.

Here's some notes on what I've done to obtain the final 
result on the Boston Lamb: 
first, the gaps, there where two gaps that 
had to be fixed.
Flying in some material from Providence: 
an 11" gap at the beginning 
of Carpet Crawlers patched with a 25" sonically matched and 
overlapped portion, 
and a 15" gap in the ambient part of Here Comes 
The Supernatural Anaesthetist starting after 3'45" from the 
of the song (it's the point where everyone in the audience seems to 
want to whistle) patched with 
57" from The Providence recording again 
sonically matched, overlapped and crossfaded.(there actually was a 

third gap on the crowd before the encore but that never gave problems 
at all).
The major problem with this 
Boston recording regarded the fact that 
it was brutally mono; so, apart from the usual de-noising, 
pumping, brightening, limiting and ambient 
reconstruction, I faced the decision to reconstruct a believable 

stereo image which I achieved with the aid of Waves' PS22 plug-in, 
the best software to obtain a believable 
stereo image from a mono 
source (I hope that this doesn't spoil you the enjoyment of these 2 
cds, but is in 
line with my philosophy of not being concerned about 
what it sounded like back then, but being more concerned 
about what 
it should sound like now).

Digital Brothers
It's "The Lamb" live, plus The Musical Box. There are no less than 7 known recordings of this show. I'm thinking this is SAB 06.

LLD_302 is definitely SAB06
(Digital Brothers Production)
Type: Audience
Quality: A
Media: 2 CD-R

Recording comments
Although there's a tad too much noise reduction done IMO, the sound of
this remaster is fantastic, and feels like you're actually IN the hall! :)
Killer version of The Waiting Room, running over 9 minutes and departing
completely from the original theme and going into a hypnotic groove!
[Jesper Moonen]

Track # Track Name Track Length
CD 1
1.01 The Lamb Lies Down On Broadway 06:15
1.02 Fly On A Windshield 04:53
1.03 Broadway Melody Of 1974 00:29
1.04 Cuckoo Cocoon 02:26
1.05 In The Cage 08:08
1.06 The Grand Parade Of Lifeless Packaging 04:59
1.07 Back In NYC 06:11
1.08 Hairless Heart 02:34
1.09 Counting Out Time 03:54
1.10 The Carpet Crawlers 05:52
1.11 The Chamber Of 32 Doors 09:33
1.12 Lilywhite Lilith 01:23
1.13 The Waiting Room 09:48
Total time 66:30
CD 2
2.1 Anyway 03:29
2.2 Here Comes The Supernatural Anaesthetist 04:32
2.3 The Lamia 07:12
2.4 Silent Sorrow In Empty Boats 03:30
2.5 The Colony Of Slippermen 08:56
2.6 Ravine 01:51
2.7 The Light Dies Down On Broadway 03:38
2.8 Riding The Scree / In The Rapids 06:53
2.9 It 06:38
2.10 The Musical Box 11:42
Total time 58:26
Total Running Time :  2:04:56

1-1. The Lamb Lies Down On Broadway 5:16
1-2. Fly On A Windshield / Broadway Melody Of 1974 4:14
1-3. Cuckoo Cocoon (Begin)0:33
1-4. Cuckoo Cocoon 2:23
1-5. In The Cage 7:59
1-6. The Grand Parade Of Lifeless Packaging 3:12
1-7. Story Of Rael I 1:30
1-8. Back In N.Y.C. 6:06
1-9. Hairless Heart 2:35
1-10. Counting Out Time 3:54
1-11. Carpet Crawlers 5:48
1-12. The Chamber Of 32 Doors 5:52
1-13. Story Of Rael II (part 1) 3:02
1-14. Lilywhite Lilith 2:55
1-15. The Waiting Room 9:19
1-16. Anyway 3:30
1-17. Here Comes The Supernatural Anaesthetist 2:30
1-18. Interlude 1:47
2-1. The Lamia 6:56
2-2. Silent Sorrow In Empty Boats 3:18
2-3. The Colony Of Slippermen 8:58
2-4. Ravine 1:44
2-5. The Light Dies Down On Broadway 3:29
2-6. Riding The Scree 4:06
2-7. In The Rapids 2:27
2-8. It 4:29
2-9. The Story of Henry & Cynthia 3:30
2-10. The Musical Box 15:06
2-11. Watcher Of The Skies 7:24 

Notes from the Re-Master
	There are many versions of this concert available among Genesis Fans. The BBC recorded 
the show and those tapes were used to produce limited versions of this concert. This recording 
as based on an audience tape which is essentially complete. Only a couple of sentences during 
the Story of Rael part 2 are missing. This was likely when the original tape was turned during 
the show.
	The quality of this stereo recording is quite good. For some reason, the right channel 
volume was consistently 25-30% lower than the left. This was corrected. The recorder was probably 
near the front of the stage at the time of the concert. This allows us to appreciate the ambience 
of the concert hall acoustics without suffering from the "airplane hanger" effect of recordings 
made from the back row of an auditorium. This close proximity may also explain why treble was 
overemphasized in this recording and needed to be reduced. The last two songs also seem to be 
different in their tonality with even less bass and more treble. They may have been recorded 
onto a different tape, hence different characteristics. All of this was fixed. Further, the last 
two songs suffered from constant crackle, the source of which is unknown. Fortunately, it was 
easily removed. Hiss was quite prominent throughout the recording but was removed without too 
much trouble. Because it was an audience recording, removing the hiss made audience talking more 
obvious, and at some point distracting. Nothing could be done about this. Again, because of the 
audience placement of the recording device, applause was quite 
overpowering at some points and needed to be reduced. Pops and clicks were also quite frequent. 
53 were manually removed and others were corrected using algorithms. 
Peter was quite dynamic with the vocals during this performance. At some points the vocals are 
quite soft and needed enhancement. At other times they were overwhelming and distorted at their 
peaks. This was corrected as best as possible. The letter 'S' when sung loudly produced a hiss 
that needed to be reduces on many occasions. For some reason, during the last song, Watcher of 
the Skies, for about 50 seconds the volume of the Left channel drops to about one third of the 
original volume. The cause for this is unknown but this was also fixed.
The Tracking of the concert was quite curious. Disc one track placements did not correspond well 
at all to the known tracking of the Lamb Lies Down On Broadway studio version. So, most of the 
first disc tracking was reworked. On the second disc the 'Lamb' tracking was correct. The only 
change that was made was to separate the 'Story of Henry' from 'The Musical Box' within the 
"Musical Box" track, thereby adding an additional track.
The Lamb Lies Down On Broadway
Fly On a Windshield
Broadway Melody of 1974
Cuckoo Cocoon
In the Cage
The Grand Parade of Lifeless Packaging
The Story of Rael Part 1
Back in N.Y.C.
Hairless Heart
Counting Out Time
The Carpet Crawlers
The Chamber of 32 Doors
The Story of Rael Part 2
Lilywhite Lilith
The Waiting Room

The Supernatural Anaesthetist
The Lamia
Silent Sorrow in Empty Boats
The Colony of Slippermen
The Light Dies Down on Broadway
Riding the Scree
In the Rapids
The Musical Box
The Knife
Visit www.from1fan2allothers.com


 1. Beloved Summer (It's Yourself) 5:40
 2. Ripples (part 1) 4:40
 3. Ripples (part 2) 4:11
 4. Robbery, Assault & Battery 6:25
 5. Los Endos 3:06
 6. Los Endos 2:47
 7. Mad Man Moon 4:14
 8. A Trick Of The Tail 4:35
 9. Entangled (inst. 1) 4:36
10. Entangled (inst. 2) 6:33
11. Dance On A Volcano 6:05
12. Squonk 6:54
Total Disc - 59:46 

“A Trick of the Outtakes”

The Sheffield brothers built Trident studios at No. 17 St. Anne’s Ct. Soho in 1967. 
This studio was the recording site for many rock albums of the 1960’s and 70’s 
including David Bowie’s Ziggy Stardust and many tracks from the Beatle’s White Album. 
The Genesis sessions captured on this CD were recorded there in October of 1975 and 
then remastered to enhance the listening experience.
The CD begins with Beloved Summer which was the working title for the B-side 
release called It’s Yourself. It is one of the few songs on the CD that includes vocals. 
This is followed by an instrumental version of the song Ripples. Mike Rutherford can be 
heard counting the tempo at the beginning. A second version of the song follows. 
Robbery, Assault and Battery is next and is also in the instrumental mode. Just before 
the next song, Los Endos, Phil Collin’s can be heard counting the tempo. This song is 
separated into two tracks detailing different segments of the song. Mad Man Moon is 
then presented with piano, drums and some bass. It is, again, an instrumental version 
and suffers from poor recording but is still quite impressive. Trick of the Tail 
is then offered with vocals in a version very similar to the official release. 
Two versions of Entangled follow, again devoid of vocals. The accentuation of the 
guitars is particularly impressive during the first take while the second take is 
more involved and includes alternatives to the studio mix. Dance on a Volcano is 
the next track followed by Squonk. Both are presented without vocals and provide 
an interesting opportunity to really study the instrumentation of these songs.

Recorded at Trident Studios, England October, 1975
Tony Banks                 Keyboards, 12 String Guitar
Phil Collins                   Vocals, Drums, Percussion
Steve Hackett               Electric Guitar
Mike Rutherford           Bass, 12 String Guitar

Remastering Notes
    Most of the recording suffers from a great deal of Hiss. This was removed from 
each track separately. Bass levels were found to be excessively high on many tracks 
leading to a muddy sound quality. Bass was cut and both treble and midrange frequency 
ranges were then raised to bring out the detail within the recording. Many of the peaks 
within the songs were clipped and required software restoration. The whole recording was 
then normalized to a consistent volume level.

Helping Out
Please help get this show circulated. Visit http://from1fan2allothers.com for details.
Dance on a Volcano
The Lamb Lies Down on Broadway
Fly on a Windshield
Carpet Crawlers
The Cinema Show
Robbery, Assault & Battery
White Mountain
Firth of Fifth

Steve's intro
Supper's Ready
I Know What I Like (In Your Wardrobe)
Los Endos
It/Watcher of the Skies

Lineage: SBD > FM > CASSETTE > WAV > CDR > WAV > FLAC > You
Taped By: Eeklair
Transfered By: Eeklair
Bootleg Title: Eeklair GT01 (a 2006 Remaster)

Disc 1
1.1 Dance On A Volcano (6:30)
1.2 The Lamb Lies Down On Broadway (4:57)
1.3 Fly On A Windshield (3:04)
1.4 Carpet Crawlers (5:23)
1.5 Cinema Show (12:06)
1.6 Robbery, Assault & Battery (6:39)
1.7 White Mountain (8:09)

Disc 2
2.1 Firth Of Fifth (10:11)
2.2 Supper's Ready (23:18)
2.3 I Know What I Like (6:14)
2.4 Los Endos (7:14)
2.5 It/Watcher Of The Skies  (5:47)


I taped this back in 1998. I sent Mark Bataitis a copy back in 2000. I think he used it to release his Burp 04.
I felt i needed to redo this to give it a more modern mastering. And besides, it never had any business being a bURP release anyhow. Thanks to AV for letting me 'rework' his basic art design. I only affected a few small mods.

Please do an A/B comparison. you'll find this copy more pleasing to the ear than prior releases.


1-1. Dance On A Volcano 6:31
1-2. The Lamb Lies Down On Broadway 4:27
1-3. Fly On A Windshield 2:42
1-4. Carpet Crawlers 5:21
1-5. Romeo and Juliet Story 0:59
1-6. The Cinema Show 10:42
1-7. Harry's Robbery Story 1:02
1-8. Robbery, Assault & Battery 5:50
1-9. White Mountain 6:58
1-10. Firth Of Fifth 8:21
Disc - 52:39

2-1. Entangled 7:15
2-2. Squonk 6:41
2-3. Supper's Ready 23:09
2-4. I Know What I Like 5:09
2-5. Los Endos 7:09
2-6. It 3:57
2-7. Watcher Of The Skies 2:24
Disc - 55:32 

Tony Banks- Keyboards
Phil Collins- Lead Vocals, Drums, Percussion
Steve Hackett- Lead Guitar
Mike Rutherford- Bass, 12 String Guitar
Bill Bruford- Drums and Percussion

“Robbery, Assault and Berkeley”

Genesis first visited Berkeley California on January 22, 1975 to perform ‘The Lamb Lies Down on 
Broadway’. The band returns now on April 29, 1976 for their second visit to this part of the Bay 
area to again present old material but also to play songs from the new album ‘The Trick of the 
Tail’. This is their first show in four days, since a performance in Kansas City, and the first 
of 3 they will give on the West coast. During the previous visit to Berkeley, Peter Gabriel was 
at the microphone and Phil Collins played drums. During this visit, Phil is now singing vocals 
and Bill Bruford is leading the percussion. After the first song “Dance on a Volcano”, Phil 
informs the audience that they are going to play a collection from the prior tour which they 
have entitled “Lamb Stew”. This consists of “The Lamb Lies Down on Broadway”, “Fly on a 
Windshield” and “Carpet Crawlers”. Phil’s renditions are clearly different than Gabriel’s but 
still well received by the audience.
            Mr. Collins also continues Peter’s tradition of telling introductory stories before 
many of the songs. Though using less fantasy and magical thinking than his predecessor, Phil 
conveys humorous tales, including some local flavor, which the audience seems to enjoy. Older 
material such as “Supper’s Ready” and “The Cinema Show” take on a new sound as Bill Bruford 
works his magic at the drum set and interjects a series of new percussion instruments into the 
mix. Phil’s voice, though not as powerful as Peter’s, has an angelic quality at this point in 
his career which blends well with many of the songs presented during this show. The show closes 
with a medley of both old and new material: “Los Endos”, “It” and a shortened version of “Watcher
 of the Skies”.

Notes from the Re-Master

This show was taken from multiple sources, all beginning with an audience recording. As a good 
quality audience recording, this show has the benefit of providing the acoustics of the Berkeley 
Theater to the listener. The majority of the show is from a second generation tape source. 
General tape hiss and show noise were identified and removed. Tonality was generally good and 
therefore unaltered. Very few clicks, pops or dropouts were found. Viable music frequencies 
existed up to 12,000 Hz. Other available CD versions of this show have a great deal of hiss and 
viable music frequencies only up to 7,500 Hz. These other versions also have cut the beginning 
of the song Los Endos due to tape stretch distorting the sound. During remastering we have 
restored this segment. A source with the complete dialog between songs could not be found so 
some transitions are a bit awkward but more natural than other CD versions available.
Never Buy or Sell a PRRP Release!! Visit http://prrp-music.com for more.


1-1. Sqounk 6:45
1-2. Good Evening San Francisco! 0:42
1-3. One For The Vine 10:03
1-4. The Story Of Harry 1:32
1-5. Robbery, Assault & Battery 5:58
1-6. The Story Of Myrtle 1:24
1-7. Your Own Special Way 6:16
1-8. Steve Hackett Introduces An Older Number 1:08
1-9. Firth Of Fifth 8:27
1-10. Phil Introduces The Lamb 0:27
1-11. Carpet Crawlers 5:15
1-12. Introducing Chester Thompson 1:17
1-13. ...In That Quiet Earth 4:43
1-14. Afterglow 4:36
1-15. I Know What I Like 8:56
2-1. Story Of A Failed Scottish Uprising 0:39
2-2. Eleventh Earl Of Mar 7:51
2-3. The Story Of Romeo & Juliet 1:55
2-4. Supper's Ready 24:40
2-5. Dance On A Volcano/ 4:24
2-6. Drum Duet/ 0:48
2-7. Los Endos 5:53
2-8. The Lamb Lies Down On Broadway/ 5:01
2-9 The Musical Box (Closing Section) 3:08

Phil Collins - Lead Vocals- Drums and Percussion
Tony Banks- Keyboards- 12 Strings and Backing Vocals
Mike Rutherford- Bass Guitars- Guitars and Backing Vocals
Steve Hackett- Lead Guitars and Effects
Touring Member
Chester Thompson- Drums and Percussion

A Lasting Impression…Genesis 30 Years On 

            I can not believe that it’s been 30 years already…no way…forget it…and still…it is. March 2nd, 2007 and I did turn 47 a few days ago…my, how 
time flies. Yet my memories of the event are so vivid it almost seems impossible that so much time has gone by since then....
            March 2nd, 1977. I’d like to believe that I am the happiest teenager in the world right now, but I know that there are countless others, all over the 
province of Quebec, sharing the same feeling. A bunch of classmates and I are sitting on a chartered bus, en route to the Genesis concert at the 
Montreal Forum tonight. we’re all pretty anxious as a rather strong snowstorm is raging outside, but reassuring words from the seasoned, grey-haired bus 
driver soon put our minds at ease: “Don’t worry, guys, we’ll get there on time!” He has obviously seen worse, so we get to relax. Outside the bus windows,
 the wind is blowing tons of snow through leafless trees and the entire scenery is very reminiscent of the ‘Wind And Wuthering’ album cover, which makes 
for a very special atmosphere indeed. There’s a guy on the bus with a small but quite efficient cassette player who plays Genesis songs from all the 
albums, past and present, and we all find ourselves singing or humming along to countless classics. Clearly, this vehicle is loaded with rabid Genesis fans 
and everyone is having a ball…even the driver! A quick stop for a hearty meal along Auto-Route 40 West gives us a short respite from the storm, but we 
are soon back on the road for the final leg of this eventful trip.
            Suddenly, there it is…the Montreal Forum, home of the Montreal Canadiens, proud holder of so many Stanley Cup banners, and host to the finest 
entertainment acts in the world. Tonight, it will be home for Genesis and an army of 16,000 fans! I’ve been here a few times to attend hockey games with 
my brothers, but tonight is quite different – I’m here to see MY BAND!!! A quick walk around the building to catch a glimpse of the huge Showco trucks 
and in we go, heading straight for a souvenir stand. Unfortunately, they’re already out of my size in T-shirts, so I have to settle for a tour program, and a 
great looking one it is. As I get seated, I quickly thumb my way through it, marveling at all the great pictures inside. I can hardly wait to read the text, 
but my attention now turns to the stage itself and the amazingly huge lighting rig suspended overhead. I’ve seen a couple of rock shows near my home 
town, but nothing on this scale. This is HUGE, and quite impressive to a 17 year old kid. But the most staggering thought is this: in a few moments Tony 
Banks, Steve Hackett, Phil Collins and Mike Rutherford will be standing on that stage…Genesis will be there, performing their music exclusively for us. The 
anxiety is almost unbearable!      Eventually, the wait is over. The house lights are turned off, a huge roar of applause fills the building (and my ears as well!)
 and I can feel my skin crawl as thousands of trembling little flames are lit by fans all over the place. From where I’m sitting I can see the guys in the band 
walk onto the stage and take up their respective positions. The stage is set…let there be light and Genesis music! Music we will have…Phil counts up to 
four…and the Montreal Forum explodes! To anyone present this night the first few bars of ‘Squonk’ will forever be remembered as a deafening blow. The 
volume of sound that engulfs us in that moment is but one step short from total aggression, yet everything is crisp and clear and every instrument or vocal
 harmony can be heard to perfection.
            If the band wanted to grab the audience’s immediate attention, choosing this particular song as the show opener was a sure way to do it! 
Grabbed we are, and grabbed we will stay until the very last note of this incredible show. While my ears are being given a workout, my eyes are 
catching their first images at a furious pace, trying to see everything and everyone at once. Steve Hackett on the left, dressed in beige slacks with 
knee-high boots and a white loose-sleeve shirt, is playing standing up, which is quite a contrast from the old Gabriel-era pictures that I have of him, 
sitting down, hunched over his golden Les Paul.
            Mike Rutherford, all dressed in white, looks like a tower of strength with his huge Shergold double-neck guitar in hand. He has grown a beard 
since the last tour. Tony Banks, perhaps the only member of Genesis that will never change, quiet, stoic, hunched over his keyboards in concentration, 
with only a few head nods here and there to indicate that he seems to be enjoying himself. He too is all dressed in white. Chester Thompson, newcomer 
to the Genesis fold, appears to be a very discrete and efficient musician. I’ve heard him play on a couple of Frank Zappa records and was very impressed. My guess is he will impress me again tonight. And in the middle of all that: Phil Collins, dressed in white trousers and a sailor-like striped shirt. At first glance, the man appears as he really is…a huge ball of positive energy, running around the stage, smiling, clearly having a ball. His voice is in great form this night; every word can be heard clearly and seems to flow like water. I’ve never heard ‘Squonk’ played live before so the finale truly grabs me as Steve Hackett’s chilling guitar sound sends shivers up and down my spine. Wow!!
            After a huge standing ovation, Phil addresses us for the first time. Much to everyone’s delight, he has chosen to speak French for the most part. 
Since his first real brush with the French language comes from when he took over as lead singer the year before, he has to rely on written notes on a 
small stack of typing paper, a practice that (unbeknownst to me at the time) he would carry on for years to come. The next number in the set is a new 
one, ‘One For The Vine’, and will afford us the opportunity to see Phil play the drums for the first time tonight. What an amazing drummer he is! The music 
really takes off when he’s sitting behind the kit. The song also provides our first glimpse at the amazing laser effects, the best of which are still to come. 
After two more recent numbers, namely ‘Robbery, Assault & Battery’ and ‘Your Own Special Way’ (introduced in French by Mike Rutherford), the moment 
that we’ve all been waiting for finally arrives. Time for the band to dig into the older material, and Steve Hackett is the one delegated to bring us the 
good news. ‘Firth of Fifth’…what more can be said about this classic number from the ‘Selling England By The Pound’ album? It is pure magic to see 
Genesis performing this amazing song. Phil’s dynamic drumming and Tony’s masterful keyboard playing carry us to the powerful climax provided by 
Steve’s most celebrated guitar solo, which brings tears to the eyes of many, including myself.
            Another incredible high for everyone is the inclusion at this point of the song ‘Carpet Crawlers’, from ‘The Lamb Lies Down On Broadway’. Phil’s 
voice is so beautiful, and so are Steve’s guitar cries in the background, but the thing that truly gets to me is the amazing respect shown by the audience. 
Not a single sound can be heard outside of the music itself. A fly could have flown by and one would have heard it. Before playing two more of the new 
numbers, ‘In That Quiet Earth’ and ‘Afterglow’, Phil introduces special guest drummer Chester Thompson to the audience. Montreal is renowned for its 
warm welcome to progressive rock bands and musicians, and Chester soon finds out what that means. The man stands up to acknowledge the 
applause, visibly taken aback by such a prolonged standing ovation. For the Montreal audience, it is only natural to greet Chester this way, for the man 
has already proven himself worthy of entering the Genesis family.
            Time to kick up our heels and join the fun as Genesis launch into ‘I Know What I Like’ and the audience is transformed into a gigantic choir every 
time the well-known chorus comes in. Phil’s tambourine dance brings a smile to the proceedings, and I suspect that many people in the hall are too 
busy having fun to notice that Steve has just thrown in a snippet from ‘Dancing With The Moonlit Knight’ or that the music has turned, for a brief 
moment, into the ‘Stagnation’ chorus. I’m convinced that even a lot of my friends will not believe me when I tell them what I’ve heard.
            After the festive mood brought on by the last number, the band returns to the ‘Wind And Wuthering’ album for the last time tonight. ‘Eleventh 
Earl Of Mar’, the song that many thought would surely be the show opener, is instead played almost last. The rendition is superb and paves the way for 
the most exciting moment of the evening. As Phil starts telling the story of Romeo and Juliet, I have a look at my watch and think: “If they go into ‘The 
Cinema Show’ now, they won’t have time to play ‘Supper’s Ready’!” The song that I had most anxiously hoped for was now slipping away, until…Phil 
unexpectedly announces ‘Supper’s Ready’ at the end of the Romeo story, and I think that everyone’s heart must have stopped for a brief moment in 
time. Here is the song we all wanted to see and hear! Steve Hackett grabs the old 12-string acoustic guitar and sits down for the first time. The amazing 
ride is about to begin! I think no words can truly describe the feeling that one gets when seeing Genesis work through the various movements of their 
most fabulous song.
            After Peter Gabriel’s departure, the band decided to modernize the song a bit, so everything is there, so familiar and yet so fresh and new. 
Genesis were always known as a visual band, and ‘Supper’s Ready’ is about to prove this statement beyond our wildest dreams. The giant dancing 
flowers that pop up from behind the stage, the breathtaking red laser cone that fills the Forum from floor to ceiling, seemingly giving a whole new 
dimension to the place, and the amazing blue laser beam that comes down to surround Phil as he sings the final ‘New Jerusalem’ part, all of these 
leave us speechless. As the last rings of smoke evaporate from the stage, the ovation that follows the last few notes of the classic song grows to an 
amazing roar as the musicians stand there to acknowledge the applause and catch their breath. The place is simply going wild and Phil is desperately 
trying to regain control at the microphone. Finally, the applause dies down and he quickly offers us another thank you. “Now we’ve come to the last 
song” he says, and only such a statement could have brought up booing sounds on this wonderful night. The band quickly jumps into ‘Dance On A 
Volcano’, much to everyone’s delight. It comes as a bit of a surprise that this song should be performed so late into the set, but the most surprising 
moment is still to come. Instead of the usual finale, Phil and Chester launch into a quick drum duet that soon leads us into ‘Los Endos’. The amazing 
instrumental totally blows us away as Genesis are giving us every bit of energy they have left. At the climax of the number, visuals take over again as 
amazing orange laser swirls suddenly surround the entire lighting rig over the stage. ‘Los Endos’ ends in a mighty crash as we all jump to our feet once 
again. “Bonsoir Montreal!” Phil shouts just before leaving the stage. The quest for an encore starts immediately.
            If I thought the audience had been noisy before, this opinion is quickly dispelled upon hearing the gigantic roar of applause that we are now 
offering in the hope of luring the band back onto the stage. Our prayer is quickly answered as the guys come back wearing Montreal Canadiens jerseys 
and jump into ‘The Lamb Lies Down On Broadway’. At the end of it, we are taken by surprise once again as the song is brilliantly segued with the finale 
of one of their most enduring numbers, ‘The Musical Box’. With that last blast, Genesis bow to us one last time and leave the stage for good. The show is 
over…it went by so quickly, and yet I have a feeling that I will never forget a single moment of it.
            March 2nd, 2007. As I sit here 30 years on, remembering that wonderful night, I cannot help but smile at the thought that my assessment was quite 
correct. I do remember everything that I saw and heard that night. These memories are forever etched in my mind and will remain with me until the day 
I die. This was my first big show, and it featured my most beloved band of all, how can a person ever forget such a moment in time? I saw Genesis play 
live on six more different tours after that, but even though I thoroughly enjoyed all of them, they were never the same as the first one. Steve Hackett was 
no longer with the band, and a lot of the magic left with him. A few days from now, tickets will go on sale for the new and quite unexpected Genesis 
world tour. They are rumored to be appearing at Olympic Stadium in Montreal on September 14, 2007. Again, I will do my best to land the best tickets I 
can afford, and again, I will be the happiest man in the world when I do so. I know that ticket prices have skyrocketed in the last few years and that it 
will most likely cost me at least 150 Dollars to see them this time, but hey…it’s Genesis!!!
            In closing, I would like to add these few figures, only to show how things have changed since March of 1977. 
                                    Genesis ticket price:      $7.50
                                    Genesis tour T-shirt:      $3.00
                                    Genesis tour program:   $2.00 
Kind of brings tears to the old eyes, doesn’t it? Enjoy this great ‘Wind and Wuthering’ show. The band sounds every bit as good as I remember them being
 in Montreal. 

Notes from the Re-Master 
            We began with the SHN files that had been distributed via torrent just a few months ago. As was mentioned when the show was released, the 
beginning of Squonk was missing the first few notes and the Left channel was essentially absent for the first minute or two. The audience recording of this 
show was, in part, used to repair this beginning section as were other sources. The audience recording was also used to help patch a tape flip gap later 
on as noted below.
            For the show in general, multiple noise reduction techniques were used to remove tape noise where necessary. There was also an intermittent 
noise that interfered with the enjoyment of the dialogue and other quiet sections. This needed to be repaired when found and was repaired successfully. 
The balance was audibly off-center when listening to the original recording but was easily fixed for the remaster. The dynamics of the show were also 
enhanced where possible but no significant change to the tonality was made.
            A tape flip gap occurs just before The Carpet Crawlers. The gap leaves out the introduction to this song. Rather than splice in another 
soundboard sourced song introduction, we made the decision to splice in the audience recording from that night. This patch itself is incomplete 
because a gap in this section occurs in this source as well but still, we decided to use this source. The reason was two-fold. First, as an alternative source 
for that evening’s performance, using the audience recording was more accurate to represent the evening’s event. This is important because Phil jokes 
that the band will begin to play the entire Lamb Lies Down On Broadway. Secondly, this audience source does capture the beginning of The Carpet 
Crawlers and so easily completes the song.
            Probably the most important component of this remaster was the speed correction. Each disc was speed corrected separately. The tracks were 
compared with established references and a clear pattern of speed error emerged. Correction of this error improves the recording enormously, in our 
opinion. The show was then re-tracked to separate the songs from the introductions and to insure that the track points conform to established standards. 

PRRP Staff
late show

Disc 1 of 2
01. Squonk                             07:00.30
02. One For The Vine                   10:08.42
03. Robbery, Assault And Battery       07:25.51
04. Inside And Out                     07:42.48
05. Firth Of Fifth                     09:02.22
06. The Carpet Crawlers                06:23.70
07. In That Quiet Earth                04:35.53
08. Afterglow                          04:18.66
09. I Know What I Like                 08:11.40
10. Eleventh Earl Of Mar               07:56.05
                                Total: 72:45.52

Disc 2 of 2
01. Phil talking Portuguese ;)         01:29.54
02. Supper's Ready                     24:54.39
03. Dance On A Volcano                 04:14.67
04. Drum duet                          00:45.03
05. Los Endos                          06:10.12
06. The Lamb Lies Down On Broadway     04:48.35
07. The Musical Box (closing section)  03:03.43
                                Total: 45:26.28
One for the Vine
Robbery, Assault & Battery
Inside and Out
Firth of Fifth
Carpet Crawlers
In that Quiet Earth
I Know What I Like

Eleventh Earl of Mar
Supper's Ready
Dance on a Volcano
Drum Duet
Los Endos
The Lamb Lies Down on Broadway
The Musical Box

Digitial Brothers matrix
Eleventh Earl of Mar
In the Cage
Burning Rope
Deep in the Motherlode
The Fountain of Salmacis
Ballad of Big
One for the Vine

Say It's Alright Joe
The Lady Lies
The Cinema Show
Follow You Follow Me
Dance on a Volcano
Los Endos
I Know What I Like (In Your Wardrobe)
Type:  Audience
Quality:  * A-

Recording Comments
From 1st Gen tape  
  Media 2CD-R 
Track # Track Name Track Length 
1.1 Eleventh Earl Of Mar 08:22 
1.2 In The Cage 08:52 
1.3 Burning Rope 08:14 
1.4 Ripples 10:11 
1.5 Deep In The Motherlode 07:16 
1.6 The Fountain Of Salmacis 09:05 
1.7 Down And Out 06:07 
1.8 One For The Vine 11:07 
2.1 Squonk 06:36 
2.2 Say It's Alright Joe 08:17 
2.3 The Lady Lies 06:27 
2.4 The Cinema Show / Afterglow 20:26 
2.5 Follow You, Follow Me 03:58 
2.6 Dance On A Volcano 04:39 
2.7 Drum Duet 01:15 
2.8 Los Endos 06:04 
2.9 I Know What I Like 09:33 
  Total Running Time :  2:16:29
Audience 1st Gen - Vast improvement on the Highland version. 
Quality: A-  
Media: 2CD-R

1.1 Eleventh Earl Of Mar 09:27 
1.2 In The Cage 08:17 
1.3 Burning Rope 08:12 
1.4 Ripples 09:35 
1.5 Deep In The Motherlode 06:42 
1.6 Fountain Of Salmacis 09:44 
1.7 Ballad Of Big 05:56 
1.8 One For The Vine 10:11
2.1 Squonk 07:21 
2.2 Say It's Alright, Joe 08:13 
2.3 The Lady Lies 10:05 
2.4 The Cinema Show / Afterglow 15:48 
2.5 Follow You, Follow Me 04:28 
2.6 Dance On A Volcano / Drum Duet / Los Endos 11:31 
2.7 I Know What I Like 07:58 
  Total Running Time :  2:13:28 
Eleventh Earl of Mar
In the Cage
Burning Rope
Dancing with the Moonlit Knight
The Musical Box (closing)
Deep in the Motherlode
One for the Vine

Say It's Alright, Joe
The Lady Lies
The Cinema Show
In That Quiet Earth
Follow You Follow Me
Dance on a Volcano
Los Endos
I Know What I Like (In Your Wardrobe)

Deep in the Motherlode
Dancing with the Moonlit Knight
Carpet Crawlers
One for the Vine
Behind the Lines
Guide Vocal
Turn It On Again
Duke's Travels
Duke's End
Say It's Alright Joe

Phil talking
The Lady Lies
In the Cage/The Raven
Follow You Follow Me
Dance on a Volcano
Los Endos
I Know What I Like (In Your Wardrobe)


Deep In The Motherlode / Dancing With The Moonlit Knight / Carpet Crawlers / Squonk / One For The Vine / Behind The Lines / Duchess / Guide Vocal / Turn It On Again / Duke's Travels / Duke's End / Say It's Alright Joe / The Lady Lies / Ripples (Cut) / In The Cage / Raven / Afterglow / Follow You, Follow Me / Dance On A Volcano / Drum Duet / Los Endos / I Know What I Like / The Knife (07-May-80)

Intro / Behind The Lines / Duchess / Guide Vocal / In The Cage / Slippermen / Afterglow / Dance On A Volcano / Drum Duet / Los Endos
Liverpool - 02-May-80 - Granada TV Documentary

Here at last is EFDVD's take on the classic Old Grey Whistle Test footage taken from the second night at the Lyceum Ballrooms in London - and believe me when I say that you will all be glad we left it until now!

After having only played one UK show on the previous tour (Knebworth '78 of course), Genesis "made it up" to the UK fans by embarking on a very much scaled down tour of more intimate venues.
As has been said by members of the band, this was perhaps the first tour that Phil considered himself completely as the singer and frontman, and for many people (myself included) this fact contributes largely to why this tour is so highly regarded.  For me, this tour is the pinnacle of the 3-man era - all the guys are at the absolute top of their game.
And this 40 minutes of footage from the Lyceum perfectly illustrates that - recorded on the penultimate night of the UK tour before they took it to North America, the band are on fire.
Of course, it is sad that only a portion of the concert was broadcast - but the choice of songs is perfect!

Those of you who have acquired the Kate Bush with Peter Gabriel DVD (EFDVDVA02) will no doubt be ecstatic to hear that our source for the OGWT footage is the same person, which should tell you what to expect - and yes, they are still anonymous ;-)
And again, this also benefits greatly from being worked on by TM Productions!

I have to say, listen to this as loud as you can, preferably through some decent headphones - and if it doesn't completely blow your mind, I'll give you your money back ;-)

But wait, that's not all!  Included on the DVD is a cracking upgrade of the Granada TV documentary going behing the scenes on the tour, and specifically at the Liverpool show on 2nd May.
This is taken from a timecoded DVD recording of the master tape and came to us from EFDVD's very own James Hendry :o)

Hope you enjoy this one guys - we're a bit proud of it!!!

Simon Holloway
(EFDVD co-owner)

February 2007.
Deep In The Motherlode
Dancing With The Moonlit Knight (intro)
One For The Vine
Behind The Lines
Guide Vocal
Turn It On Again
Duke's Travels
Duke's End
Story of Two Characters
The Lady Lies
The Roadie's Smoke Story

In The Cage
The Colony of Slippermen
Follow You Follow Me
Dance On A Volcano
Drum Duet
Los Endos
I Know What I Like
6-19-80 CHOM-FM Interview with Tony Banks

Notes from the Re-Master

	This Genesis show was provided as a .SHN format soundboard recording. The quality is 
quite good with music signal up to 13,000 Hz but hiss and other sources of noise were found to 
be a major problem. Hiss was reduced using a number of different techniques as the characteristic
 of this noise changed between the music and dialogue sections of the show.  Miss-tracking errors
 were found and corrected during the re-tracking process. Numerous clicks, pops and small dropouts were also found and repaired. Detail and "atmospherics" were enhanced as much as possible. Two 
patches were needed to fill gaps within the show. Another soundboard recording from this same 
1980 tour was used for this purpose to match the feel and style as closely as possible. 
The other major problem with the show was the speed and pitch of the recording. The original 
version was clearly off both pitch and speed. Fixed time segments within the show were calculated
 and compared with other similar shows and the studio versions of the songs. Different speed and
 pitch versions were produced and reviewed by the PRRP staff to confirm the best sounding, final
	The amount of music on each final remaster disc was re-balanced once the decision to use
 the interview was made. The interview segment came from a cassette tape used to record the radio
 broadcast. This was generally a good recording but suffered from significant volume fluctuations
 that needed repair. Commercials and songs presented between the interview segments were removed 
as well as hiss and a transmission buzz that interfered with the dialogue. Finally, the volume of
 the interview was matched to the show for a smooth transition.
Track # Track Name Track Length 
1.1 Behind The Lines 06:09 
1.2 Duchess 06:08 
1.3 The Lamb Lies Down On Broadway 06:45 
1.4 Dodo / Lurker 07:27 
1.5 Abacab 10:08 
1.6 Carpet Crawlers 05:49 
1.7 Me And Sarah Jane 08:59 
1.8 Misunderstanding 04:10 
1.9 No Reply At All 05:03 
1.10 Story 04:46 
2.1 Firth Of Fifth 11:01 
2.2 Man On The Corner 04:44 
2.3 Who Dunnit? 03:33 
2.4 Phil Plays The Trumpet 03:38 
2.5 In The Cage 08:05 
2.6 Cinema Show 03:47 
2.7 Afterglow 04:34 
2.8 Turn It On Again 05:29 
2.9 Dance On A Volcano 07:22 
2.10 Los Endos 06:17 
2.11 I Know What I Like 13:00 
  Total Running Time :  2:16:54 
Master Audience Cassette> Wav> CDR> WAV(EAC Rip)> FLAC Level 6> You

Featuring many guest performers: Earth Wind and Fire Horns, and Bill Bruford plays percussion on the encores.
Thus the title of this release, "3 drummers 4 horns."

Disc One

01 Dance on a Volcano
02 Behind The Lines
03 Follow You Follow Me
04 Chit Chat
05 Dodo
06 Abacab
07 introduction: The EWF horns
08 Paperlate (featuring EWF Horns)
09 Romeo Story
10 Supper's Ready
11 No Reply At All (featuring EWF Horns)
12 Misunderstanding

Disc Two

13 Man On The Corner
14 Whodunnit?
15 Daryl / Chester intros
16 Medely: In The Cage, Cinema Show, Colony of Slippermen (solo section)
17 Afterglow
18 Turn it On Again
19 Drum Duet/Los Endos

20 The Lamb Lies Down/Watcher of the Skies (Closing Section) (Mr Bill Bruford on Phils Percussion)
21 I Know What I Like (Mr Bill Bruford on Phils Percussion)

Phil Collins - Vocals, Drums
Mike Rutherford - Bass, Guitars, vocals (IKWIL) 
Tony Banks - Keyboards, guitar (SR), b.Vocals (Lamb)
Chester Thompson - Drums, percussion
Daryl Stuermer - Guitar, Bass

EWF Horn section ("Paperlate" and "No Reply")
Bill Bruford - percussion (2 Encores)
Dance on a Volcano
Behind the Lines
Follow You Follow Me
No Reply at All
Supper's Ready

Man on the Corner
In the Cage/Cinema Show/Slippermen
Turn It On Again
Drum Duet/Los Endos
The Lamb Lies Down on Broadway/Watcher of the Skies
I Know What I Like (In Your Wardrobe)

The copy I acquired had a five second loop in "Cage", and the balance was off. I used Adobe Audition to correct these glitches.
Disc 1
Back in NYC
Dancing with the Moonlit Knight
The Carpet Crawlers
Firth of Fifth
The Musical Box
The Lamb Lies Down on Broadway
Fly on a Windshield

Disc 2
In the Cage
Supper's Ready
The Knife
Solsbury Hill (take 1)
Solsbury Hill (take 2)
Solsbury Hill (take 3)

CDR -> EAC -> WAV -> xAct 1.4b28 -> .shn

Spectrum, Philadelphia, 26th November 1983

The transcription service "Captured Live" recorded 100 mins from the second of the three 1983 dates at the Philadelphia Spectrum. Phil's vocals are on top form: his performance on Mama is the best I have heard. A recent bootleg "Captured Live" [Flying Cat - 2CD] reproduces the radio show. 

Sourced from an original copy of the RKO Captured Live! CL 2684/2784 (23/30 July 1984) vinyl radio show. It is an excellent transfer, with only the dj  intros omitted for the release purpose.

Disc 1

01. Dodo/Lurker				07:51
02. That's All				04:46
03. Abacab				09:06
04. Mama				07:20
05. Keep It Dark			05:33
06. Home By The Sea			05:16
07. Second Home By The Sea		06:47
				 Total:	46:41

Disc 2

01. In The Cage/Cinema Show/
    In That Quiet Earth/Slippermen 	14:29	
02. Afterglow				04:34
03. Drum Duet 				03:08
04. Los Endos				06:26
05. Turn It On Again Medley		09:03
06. Misunderstanding			04:02
07. Illegal Alien			05:30
				 Total: 47:12

Total running time: 		      1:33:51
Coaster Factory

Set I
That's All
Illegal Alien
Home By the Sea
Second Home By the Sea
Behind the Lines
Set II
In the Cage/
Cinema Show/
Keep it Dark
It's Gonna Get Better
Los Endos
Dance on a Volcano
Turn It On Again
No Reply At All

Sound: A+
Show: A- (for including It's Gonna Get Better and Illegal Alien)
GENESIS: September 30, 1986
NYC - Madison Square Garden

DISC ONE (70:48)
3-Land Of Confusion
4-That's All
6-In Too Deep
7-The Brazilian
8-Follow You Follow Me
9-Chester Thompson Intro
10-Tonight Tonight Tonight

DISC TWO (73:45)
1-Audience Participation Time
2-Home By The Sea
3-Throwing It All Away
4-Daryl Steurmer Intro
5-In The Cage
6-...In That Quiet Earth
7-Supper's Ready (Apocalypse In 9/8 - As Sure As Eggs Is Eggs)
8-Invisible Touch
9-Drum Duet
10-Los Endos
11-Turn It On Again

Tony Banks: Keyboards, Backing Vocals
Mike Rutherford: Guitars, Basses, Backing Vocals
Phil Collins: Acoustic & Electronic Drums, Vocals
Chester Thompson: Acoustic & Electronic Drums
Daryl Steurmer: Guitars, Basses, Backing Vocals
Lineage: SBD -> ? -> .shn (see below)

Untreated and un-remastered soundboard transfer

1.01 Mama				08:36
1.02 Abacab				10:52
1.03 Land Of Confusion 			05:14
1.04 Thats All				06:30	
1.05 Domino				12:44
1.06 In Too Deep			05:42
1.07 The Brazilian			05:38
1.08 Follow You Follow Me		06:18
1.09 Tonight Tonight Tonight 		09:12

2.01 Audience Participation Time 	04:26
2.02 Home By The Sea 			05:16
2.03 Second Home By The Sea		06:50
2.04 Throwing It All Away 		08:45
2.05 In The Cage 			08:00
2.06 ...In That Quiet Earth 		03:59
2.07 Apocalypse In 9/8			08:27
2.08 Invisible Touch			05:07
2.09 Drum Duet				04:59
2.10 Los Endos				06:48
2.11 Turn It On Again			11:02

Total running time:			2:24:25

These files were shared on the Genesis DC++ hub as "SBD v2" meaning 
there are (at least) two versions floating around. On the Genesis
Movement website http://www.genesis-movement.co.uk/ two versions
are listed as untitled, right below the BURP version. Funny thing is,
this version does not match the track times of any of the two listed
ones, and the artwork is black as opposed to the two other listed ones
with blue and yellow art respectively. I also have the one with the
blue art and it sounds exactly the same as this one, but this one has
more accurate indexing between songs and there are some very small 
cuts that are not present on this version.

The BURP version is listed as "Low generation clone from Fisher
Lane Farm master & is complete" but in my ears this version sounds
better and cleaner, but they all have some traces of hiss and static.

Thanks to Speedy for sharing this one on the hub!

Unfortunately this show has not been remastered by anyone else but BURP,
it would be great if some of the big guns of Genesis remastering took
a shot at this at some point in the future :-D


Radio intro
Land of Confusion
In Too Deep
Follow You Follow Me
That's All

Radio intro
Tonight Tonight Tonight
Throwing It All Away
In the Cage
In That Quiet Earth
Supper's Ready
Invisible Touch
Turn It On Again
Radio outro

Land Of Confusion
No Son Of Mine
Driving The Last Spike
Old Medley
Fading Lights
Jesus He Knows Me
Home By The Sea
Second Home By The Sea
Hold On My Heart
Domino / Drum Duet
I Can?t Dance
Tonight, Tonight, Tonight
Invisible Touch
Turn It On Again
Birmingham NEC 
& 02-Feb-98
Sportshall Prague, Czech Republic*

1.1 No Son Of Mine * 
1.2 Land Of Confusion *
1.3 Lamb Lies Down On Broadway 
1.4 Calling All Stations  
1.5 Alien Afternoon 
1.6 There Must Be Some Other Way * 
1.7 Domino (Part I & II) * 
1.8 Shipwrecked  
2.1 Congo *
2.2 Home By The Sea * 
2.3 Dancing With The Moonlit Knight (acoustic) 
2.4 Supper's Ready (Lover's Leap) / (acoustic) 
2.5 Not About Us (acoustic)  
2.6 Mama 
2.7 The Dividing Line 
2.8 Invisible Touch *
2.9 Turn It On Again *

Liberated bootleg CD "Live After Dividing" (Highland HL 283/284)
DAE with Roxio Easy CD Creator 5
SHN conversion with mkw Audio Compression Tool 0.97 BETA 1

Tony Banks: Keyboards, Guitar
Anthony Drenan: Bass, Guitar
Mike Rutherford: Guitar, Bass
Ray Wilson: Vocals
Nir Z: Drums

Sound: A
Show: A-

Like most of the shows from the CAS, the performance suffers from a lack of confidence. A pity, since Ray Wilson is an excellent vocalist.
No Son Of Mine
The Lamb Lies Down On Broadway
Calling All Stations
The Carpet Crawlers
Domino, Part 1: In The Glow Of The Night>
Domino, Part 2: The Last Domino
Dancing With The Moonlit Knight
Supper's Ready (Lover's Leap)
Not About Us
The Dividing Line
Turn It On Again
Invisible Touch

This is missing Alien Afternoon  and Shipwrecked, which can be found on "Live After Dividing".
From HDTV broadcast. slight sync issues.

Genesis - The Cinema Show - Düsseldorf June 27. 2007

Satellite HD broadcast > TS (Transponder Stream) demux with ProjectX > Cut with Cuttermaran > Remux with Mplex > Authoring with Nero Vision 4 > DVD

Behind The Lines / Duke’s End
Turn It On Again
No Son Of Mine
Land Of Confusion
In The Cage / The Cinema Show / Duke’s Travels
Hold On My Heart
Home By The Sea / Second Home By The Sea
Follow You Follow Me
Firth Of Fifth / I Know What I Like

5.1 Sound

Producer/director Tony Maylam captured the band's performances at the Apollo Theatre in Glasgow, Scotland and Bingley Hall in Stafford, U.K. during the 1976 tour that resulted in the Seconds Out album. The solid direction, song selection, and sound quality put Genesis in Concert on a par with Seconds Out; the film, therefore, serves as a fine companion piece to that audio release. The 45-minute videotape is comprised of seven compositions and features an instrumental rendition of "Fly on a Windshield"/"Broadway Melody of 1974" as well as hot dual drumming on "The Cinema Show" by Collins and Bill Bruford.

not for trade

Genesis Live 1972-1974 DVD

March 20, 1972 - Brussels, Belgium - 30 Minutes
The source for this very common video is the recent German 3SAT broadcast because of better quality and bolder colors than the UK broadcast, IMO. The only downside is the 3SAT logo in the corner.
Includes Fountain of Salmacis, Twilight Alehouse, The Musical Box, Return of the Giant Hogweed

April 18, 1972 & February 3, 1974 - Italy B&W - 7 Minutes
The source is a master recording (not from broadcast) and had a timecode on the top. This timecode was removed but left a less-annoying 'blur' in its place. Video was desaturated for a true B&W picture.
Includes parts of Stagnation, misc live footage, & Interviews

January 10, 1973 - Bataclan, France - 34 Minutes
The source is the recent French TV broadcast which has the JIMMY logo in the upper right corner.
Includes parts of The Musical Box, Return of the Giant Hogweed, Supper's Ready, The Knife, and Interviews

December 20, 1973 - Midnight Special - 16 Minutes
Excellent source very close to the only recording made of this broadcast. This version had 4 dropouts where the video and audio went completely out, but this was removed so only a short skip is seen.
Includes Watcher of the Skies & The Musical Box

December 3, 1973 & April 11, 1974 - Chicago 8mm - 10 Minutes
Very nice copy of this silent footage. Some excellent live concert audio was added to make it more enjoyable. 5MBPS VBR.

All video has been encoded at a VBR of 6MBPS unless otherwise noted.

(Melody, ORTF TV Studios - 12-Feb-74) I Know What I Like / Supper's Ready - 30:14
(University Sports Arena, Montreal - 20-Apr-74)16mm Silent Footage With Dubbed Sound - 43:31
(Santa Monica, California - 21-Mar-74) 8mm Silent Footage With Dubbed Sound - 25:09
(Academy Of Music, NY - 06-May-74) 8mm Silent Footage With Dubbed Sound - 07:25


Includes the Mama Tour Live and VH1 Behind the Music

The Mama Tour Live - Feb-84Abacab / That?s All / Mama / Illegal Alien / Home by the Sea / Second Home by the Sea / Keep it Dark / It?s Gonna Get Better / In The Cage / Cinema Show / In That Quiet Earth / Colony of Slippermen / Afterglow / Drum Duet / Turn It On Again
VH1 Behind The Music - 1999
Top Of the Pops - 27-05-82 - Paperlate (Mimed)
 The Lamb Lies Down on Broadway
Fly on a Windshield
Broadway Melody of 1974
Cuckoo Cocoon
In the Cage
The Grand Parade of Lifeless Packaging
Back in N.Y.C.
Hairless Heart
Counting Out Time
Carpet Crawlers
The Chamber of 32 Doors
Lilywhite Lilith
The Waiting Room
Here Comes the Supernatural Anaesthetist The Lamia
Silent Sorrow in Empty Boats
The Arrival
The Colony of Slippermen
The Light Dies Down on Broadway
Riding the Scree
In the Rapids

The Musical Box
Watcher of the Skies

Remastering notes from Andrew Skeoch

The Show

This wonderful stereo recording is one of the best from the audience of any Lamb Lies Down on Broadway show, and documents almost the entire gig.

The concert comes from the first US Lamb tour in 1974, and shows a few teething troubles still cropping up on stage. Tony's keyboards in particular cause problems, and loud crackles from his rig can be heard at various points throughout the set. I'm not sure, but it sounds as though at one point during Back in N.Y.C. Tony's 7/8 synth riff drops out altogether, and Hackett carries it alone with Tony filling chords on electric piano. There are also very prominent hums and buzzes from the PA that would have dismayed the band. 

Nevertheless, they put on a powerful performance, and during most of the concert, the music is as good as it gets. It is interesting to hear Phil's harmony vocals present throughout, its as though he is just singing along with the whole concert. One doesn't usually think of Genesis songs as two part counterpoint, but its there. And Phil experiments continually, for instance the usual descending harmony line in Counting Out Time is absent, with Phil weaving lines around Peter's main melody instead. 

The famous problems with the Slipperman costume and Peter's inability to get the microphone close enough are also present. Whilst Peter is mostly loud and clear during this song, there are times he drops out almost completely, and Phil carries the vocal alone. One can understand why the band were frustrated with this situation occurring consistently, and of course it is one of the reasons Peter re-recorded the vocal for the Lamb discs on the Archive box set. 

The audience make a few notable appearances as well; listen to the exuberant whistles during the interlude prior to The Lamia. It is also amusing with hindsight to hear the audience's amazed reactions to Gabriel's unexpected appearance as the Slipperman. 

The Source

This recording is outstanding, and has long been recognised as such. All the set up conditions for a great audience recording are present; good equipment, no obnoxiously loud audience members nearby, and it sounds as though the show was taped from near enough to the stage that it doesn't sound distant. The levels are good, with little hiss or overload distortion, and notably, there is not a single microphone bump during the whole recording!  All the instruments are clear and there is a great sense of ambience from the hall and audience.

The recording was reputedly originally made on reel-to-reel, although the difficulties of stealth recording with large open reel gear, and that consistent cuts occur at the 45 min flips on different cassette copies of this recording, all point to a common cassette source. Whether that is the master or just a 1st gen duplicating tape is unknown, but going on the audio quality of this recording I think the former is more likely.

The recording documents nearly the entire concert with the exception of two omissions; firstly a small section (possibly only a few seconds) between the audience applause at the end of Carpet Crawlers, and the first chord of Chamber of 32 Doors (which fades in quickly), and secondly the middle minute and a half of Ravine. These missing sequences are almost certainly absent from the master recording. While they both occur at end of cassette tape sides, I think it is unlikely that they would originate in a cassette copy somewhere along the line.

This recording is mainly known from the 'Rael Imperial Aerosol Kid' bootleg, although because of its good sound quality, bits of it appear on other releases, notably the Waiting Room/Anyway section which is used on several boots (Lamb Lives, Suppers Ready with a Little Lost Lamb, From One Fan to All Others) to bridge the missing sections of the West Palm Beach and Lakeland soundboard recordings of January 1975. 

The Remaster

This remaster has been initiated from first generation cassettes, generously contributed by a Hogweed member who knew the taper of this show in the 70s. The 2 tapes were TDK and Maxell 90s, with the show on 3 sides. While the cuts on these tapes are similar to those found on the Rael Imperial boot (indicating these cuts are on the master tape), there is a short section of crowd noise at the beginning (where Peter goes "Shhhhh"), which is on the boot but not this tape. Hence these tapes are definitely not the source for the boot. Also, the Rael Imperial boot inexplicably omits one of the best parts of the recording - the second encore of Watcher of the Skies, which is present on these tapes (hooray!), and (as far as I know) makes its public debut on this remaster.

The main difference in sound quality between the Rael Imperial boot and these raw tapes is in the midrange. Rael Imperial has a hard and brittle edge resulting from overload distortion of some kind. These tapes are bright but undistorted and smooth. Rael Imperial also has a treble cut above about 8KHz, possibly to minimise hiss, and of course the top end has gone with it. Lastly it is also weak in the bass as the original recording seems to be, there having been no attempt to balance this up. So, plenty of room for improvement....

I have as usual begun with a new transcription of the source tapes, checking pitch, which rises slightly with each tape and has been corrected. I have also passed the analogue audio through an exciter to add harmonics to both the bass and treble, so extending the frequency range.

Next I have denoised the recording *slightly* - by slightly I mean 4Db down to 4KHz, with a top end (above 7KHz) boost of 3 Db. This is really quite minimal, but enough to sharpen the tops and minimise what was a fairly minimal amount of cassette tape hiss anyway. 

The stereo on this recording is a little off-centre, as though the microphone was not pointed directly at the PA. I know what this is like from my own experience, there is a great temptation to point the mic at the stage, but a central stereo image is best obtained by pointing it at the PA itself. Whether that has happened here I don't know, it could be a tape head alignment issue in copying that has caused the imbalance. What can be heard is that the frequency response is slightly different between channels, and that there seems to be more of a hall ambience echo in one channel (left on this remaster). 

In balancing the equalisation, I have tried to correct this stereo imbalance, but it still didn't create anywhere near to a central stereo image. After a little playing around I found that the phasing of the two channels was the main cause of the problem. This would be consistent with either mic/venue or head alignment explanations. Anyway, after a little jiggling of the timing of left channel against right, the stereo image comes close to the centre, and the eq balance fine-tunes things along a bit more. So while the stereo is not perfectly balanced, it really sounds as though you are there in the auditorium, and that is what we want to hear. 

I have balanced the equalisation as best I can. The microphone used for this recording has a presence band peak around 4KHz, giving a bright sound, but was a little deficient in the bass. So I have pushed the bass a little, softened the low mids, and left the top end pretty much as it came out after the analogue exciting and denoise boost. It sounds at times as though the top end is quite bright, but I have played around with it, and found that attenuating anything just led to either a thin or dull sound. I think a part of it is that the cymbals, particularly Phil's rides, are quite loud in the mix. At least they dominate the music well down into the midrange, so it's not a case of just equalising them back a bit. What you hear probably represents the way it sounded in the hall. 

After the bass was enhanced, some low frequency (around 60Hz) hums became noticeable. Where the music has been quiet enough that they are audible, I have removed them, and in the process cleaned up any 'rumble' on the floor of the recording. 

Lastly I have edited in sections from other concerts to fill the missing gaps in this one. The first few chords of Chamber of 32 Doors come from the West Palm Beach 75 soundboard, which I chose because it matched the sound quality well, and as it was a short fill that would have sounded much the same each night, I felt that WPB was a suitable source. Ravine comes from the stereo audience recording of the 12th December 74 show from Waterbury, CT. This is also a good recording, and although the source I had access to is probably not the best available, it seems to balance in well. It is interesting to note the lack of buzzes from the PA on this Waterbury concert. Lastly a short section of the intro crowd noises (Peter's "Shhhhh", less than 10secs or so) from the 'Rael Imperial' boot was used to fill the missing splice in the source tape I used. 

The final process was to balance volumes between the 3 parts of the show, and maximise the levels. There is no reverb on this remaster.

Turn it up loud!
Two Weeks in Spain
Free Hand
On Reflection
I'm Turning Around
Just the Same
Playing the Game
Memories of Old Days
Betcha Thought
Funny Ways
For Nobody
Mountain Time

Extra Gentlle
Long Gone
Who Do You Love?
Get Back into Rockin'
I Drink Alone
One Bourbon, One Scotch, One Beer
Trouble Everyday
The Usual
Rock & Roll Man
Get a Haircut
Bad to the Bone
Rocking My Life Away

Show: B+
Sound: A
To get started with this blank TiddlyWiki, you'll need to modify the following tiddlers:
* SiteTitle & SiteSubtitle: The title and subtitle of the site, as shown above (after saving, they will also appear in the browser title bar)
* MainMenu: The menu (usually on the left)
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You'll also need to enter your username for signing your edits: <<option txtUserName>>
Recorded off analogue cable using a STAudio DSP24.

Jazzmeeting WDR: Trovesi - Coscia "Roung About Weill"

Gianluigi Trovesi - Klarinette 
Gianni Coscia - Akkordeon 

Duo Thomas Heberer / Dieter Manderscheid 
Eine Aufnahme vom 14.Juni 2004 aus dem Stadtgarten Köln

01. Trailer & Anmoderation
02. Dov' e la citta? 			K: Coscia/Trovesi
03. Alabama Song 			K: K. Weill
04. Le giostre di piazza savona 	K: Coscia
05. Ach, bedenken sie Herr Jach o' Brien K: K. Weill
06. L'eres una strega, c'era una tata 	K: Trovesi
07. Mahagonny - Szene 4 		K: K. Weill
08. Culo di pasta 			K: Coscia
09. Moderation & Duo Heberer-Manderscheid - Cornette Chop Suey
10. Moderation
11. Markus Stockhausen & Claudio Puntin - "Romanische Nacht", Köln 2004
12. Moderation
13. Tango Ballade 			K: K. Weill
14. Minor dance 			K: Trovesi
15. Youkau 				K: K. Weill
16. Django 				K: J. Lewis
17. Mahagonny Szene 13 			K: K. Weill
18. Her Cab 				K: Trovesi
19. Denn wie man sich bettet, so liegt man K: K. Weill
20. Basin Street Blues 			K: S. Williams
21. Thema aus Mahagonny 		K: K. Weill
22. Sweet Georgia Brown 		K: trad
Ginger Blues
I Lu Kron
Ain Temouchant
When We Go
Straight, No Chaser 
CD Silver->FLAC

CD 1:

 1. Intro- Nic Harcourt from KCRW 'Morning Becomes Eclectic'  ( 0:26 )
 2. Get Myself Arrested  (5:03)
 3. Hangover    (4:58)
 4. Free to Run (7:24)
 5. Las Vegas Dealer (5:00)
 6. Here Comes the Breeze (8:09)
 7. Rhythm & Blues Alibi (6:14)
 8. Love is Better Than a Warm Trombone (4:38)
 9. We Haven't Turned Around (7:07)

CD 2:

1. California (11:18)
2. Whippin' Picadilly (5:36)
3. 78 Stone Wobble -> *Not Fade Away (9:39)
4. Devil Will Ride (8:56)
Source: Sony ECM-719 > Sony NF610 MD > Audacity > wav > flac

Disc 1

01. Bring it On
02. Shot Shot
03. All Too Much
04. Love is Better than a Warm Trombone
05. See the World
06. Nothing is Wrong
07. Ping One Down
08. Notice
09. Blue Moon Rising
10. How We Operate
11. Ruff Stuff
12. Hamoa Beach
13. Girlshapedlovedrug
14. Free to Run
15. Fill My Cup

Disc 2

01. Devil Will Ride
02. Chasing Ghosts with Alcohol
03. Make No Sound
04. Whippin' Piccadilly
Source: SBD > DAT > Echo Gina > SF 4.5 > CDWav > SHN
Recorded by Jim Baadshaug

Disc 1:
1) John The Revelator *
2) Thelonius Beck
3) Game Face
4) Birth Of The Mule > 
5) Damage (later renamed Thorazine Shuffle)
6) Trane >
   St. Stephen jam >
7) She Said She Said >
   Tomorrow Never Knows jam

'* Allen on mandolin

Disc 2:
1) Mule >
   I've Been Workin' >
2) crowd
3) Young Man Blues >
   Good Morning Lil' Schoolgirl >
   Young Man Blues

Original Notes:

Received in trade 12/2005
EAC > WAV > FLAC (Level 6 verified) by robemichel on 05/09/2006
questions/comments: robemichel@yahoo.com
Lineage: CD > EAC > FLAC (> etree ~ YOU Mule people)
Taped by: http://db.etree.org/shninfo_detail.php?shnid=18431#comments, thanks a lot for taping this wonderful show (one more source mentioned at db.etree.org, thank you, too)
Quality: good to very good
Title: “Brothers & Sisters”
File Size: 734MB
Length: 136:33min
More Information: http://www.mulebase.com/00a.asp
and: http://db.etree.org/lookup_show.php?shows_key=48420

Live in 9:30 Club, Washington, DC, 10th March 2000
CD1: (68:03min)
1) Hammer And Nails ~
2) Don’t Step On The Grass, Sam
3) Life Before Insanity
4) No Need To Suffer ~
5) She Said, She Said ~
6) Tomorrow Never Knows Jam
7) Wandering Child
8) Fallen Down (1)
9) World Gone Wild (2) (fade out after the song)
CD2: (68:30min)
1) Drums ~ (fade in before the song)
2) Drums & Keys (2)
3) Lay Your Burden Down (1)
4) Bad Little Doggie (3)
5) Far Away (2)
6) 21st Century Schizoid Man (2) ~
7) We’re Not Gonna Take It (1)^ ~
8) Since I’ve Been Loving You (2)+
9) Mule (4) ~ I've Been Working (2) > Mule (4)
Length: 136:33min
Warren Haynes: Vocals, Guitar
Allen Woody: Bass
Matt Abts: Drums
(1) Johnny Neel on keyboards and back-up vocals
(2) Johnny on keyboards
(3) Johnny on keyboards, back-up vocals and harmonica
(4) Johnny on keyboards and harmonica
+ first time played
^ just the "Listening To You" part
Recording Info:
SBD -> Master Reel (10 inch) -> CD -> Sonic Solutions -> CD -> EAC -> SHN
(2 Discs Audio / 2 Discs SHN)

Converted By Charlie Miller

Set 1:
d1t01 - Bertha
d1t02 - Beat It On Down The Line
d1t03 - China Cat Sunflower ->
d1t04 - I Know You Rider
d1t05 - El Paso ->
d1t06 - Sugaree
d1t07 - Jack Straw
d1t08 - Big Railroad Blues
d1t09 - Me And Bobby McGee
d1t10 - Loser
d1t11 - Playing In The Band
d1t12 - Tennessee Jed
d1t13 - You Win Again
d1t14 - Mexicali Blues
d2t01 - Casey Jones
d2t02 - One More Saturday Night

Set 2;
d2t03 - Truckin' ->
d2t04 - Drums ->
d2t05 - The Other One ->
d2t06 - Me And My Uncle ->
d2t07 - The Other One ->
d2t08 - Wharf Rat ->
d2t09 - Sugar Magnolia

d2t10 - Johnny B. Goode
Disc 1 (59:47)
01. Truckin'
02. Loser
03. Mr. Charlie
04. Jack Straw
05. China Cat Sunflower >
06. I Know You Rider
07. Run Rudolph Run
08. El Paso
09. Tennessee Jed

Disc 2 (52:17)
01. Mexacalli Blues
02. Black Peter
03. Next Time You See Her
04. Casey Jones
Set 2
05. Big Railroad Blues
06. Me & My Uncle
07. Ramble On Rose
08. Playing In The Band

Disc 3 (54:56)
01. Cryptical Envelopement >
02. Drums >
03. The Other One >
04. Me & Bobby McGee >
05. The Other One >
06. Wharf Rat
07. One More Saturday Night
08. Uncle John's Band

Despite my critics, I am seeding this show in FLAC. I received it
on CDR to CDR trade years ago BEFORE SHN was
invented, and before public trackers like DIME happened. The audio is stellar.
This show is NOT listed in The "Deadhead's Taping Compendium". Apparently
it was not discovered until after the 1st volume was printed. It is listed in
Deadbase as # 2418.
Highlights are the ENTIRE show. Amazing! Enjoy. This one is by special request from 
several DIME members. Check out the other 2 Felt Forum Shows from this run that
I have seeded so far. One more to go.

Set 2 

Original source: http://db.etree.org/shninfo_detail.php?shnid=188
Disc One patched and re-tracked by Sean Cribbs 7/2003 

DISC ONE [65:33] 
01 [00:10] "squashed" 
02 [08:48] China Cat Sunflower > 
03 [05:48] I Know You Rider 
04 [03:01] Me And My Uncle 
05 [04:59] Dark Star > 
06 [01:53] Mind Left Body Jam > 
07 [16:19] Dark Star > 
08 [15:51] Eyes Of The World > 
09 [08:41] Stella Blue 

note: first 15 seconds of China Cat Sunflower patched with 
11/20/73 Denver, CO 

DISC TWO [37:29] 
01 [05:41] Weather Report Suite Prelude > Part One > 
02 [10:59] Let It Grow 
03 [08:37] Goin' Down The Road Feeling Bad 
04 [04:47] One More Saturday Night 
05 [07:24] Uncle John's Band 

note: added crossfades at reel splices between Let It Grow and 
GDTRFB and between OMSN and UJB; removed two spots of static at 
end of Let It Grow
Source: Master Cassette > DAT > CDR > EAC Rip > SHN


01.  Promised Land > 
02.  Bertha > 
03.  Greatest Story
04.  Sugaree 
05.  Black Throated Wind 
06.  To Lay Me Down 
07.  El Paso 
08.  Ramble On Rose 
09.  Me & Bobby McGee 
10.  China Cat Sunflower > 
11.  Know You Rider 
12.  Me and My Uncle 

Disk II: 

Set 1, cont. 
01.  Loose Lucy 
02.  Weather Report Suite Prelude > 
03.  Weather Report Suite Part 1 > 
04.  Let It Grow 
05.  Mississippi Half-Step 
06.  Big River, Dark Star>Eyes>China Doll Jam on disk 3 
07.  Sugar Magnolia 
08.  Uncle John's Band  
09.  Johnny B. Goode > 
10.  And We Bid You Good Night

Disk III

01.  Dark Star > 
02.  Eyes Of The World > 
03.  China Doll
Source: "Betty Board" 7in 2-track reel w/DBX-1 @ 7.5 ips > DAT
Transfer: Tascam DAP1 > Zefiro za2 > Sound Forge > CD Wave > SHN




01 - Promised Land
02 - Sugaree
03 - Mama Tried
04 - El Paso
05 - Tennessee Jed
06 - Looks Like Rain
07 - Deal

Total Time 66:56


01 - Lazy Lightning > 
02 - Supplication
03 - Peggy O
04 - The Music Never Stopped
05 - Tuning
06 - Bertha

Total Time: 38:19


01 - Estimated Prophet
02 - Scarlet Begonias >
03 - Fire on the Mountain
04 - Good Lovin'
05 - St. Stephen
06 - Sugar Magnolia
07 - Johnny B. Goode

Total Time: 67:21


This is seeded on dimeadozen.org to commemorate the 29th anniversary of this epic show. Betty Cantor was largely responsible for the overall tonal excellence and fidelity of this recording which she made, one of many that became legend to fans for their incredible depth and overall killer sound that are now famously known as "Betty Boards". This Betty Board is no exception to that tradition. Here is another rippin' May 77 show from the Veteran's Memorial Coliseum in New Haven, CT. Enjoy! - Dub Irie - 5/5/2006


Other transfers of this show exist and are tracked differently.
Known errors:
-drops gd1977-05-05d1t05 1:02 -> 1:08 and 6:00->6:10

*Please email wallwork@uab.edu with other errors.

-Troy Wallwork
etree shnid = 7725
Soundboard Recording
Digital encoding and DBX decoding by Rob Eaton
CD editing and mastering by The Wizard - Owenbrothersvault@hotmail.com

Here is how Rob did his part:
Master 1/2 trk 7" reels @7.5ips (DBX encoded)->
PCM beta digital->Sony 2500 dat->
DB Technologies DB3000S for digital emphisis decode->
DB Technologies 924 for D->A conversion->
Dolby 361 modules W/K9-22 DBX cards for DBX decode->
Neve Capricorn Digital mixing colsole (24 bit/ 32bit floating point
processing (for level adjustment)->
Panasonic SV4100 Pro Dat recorder (master Decode Dat)->
Master Clone (panasonic Sv3700->Sv3800 via AES interlink)

Here is what the Wiz did:
Rob's DAT clone>Tascam DA-20 mkII>Digital Audio Labs Card Deluxe>WAVE>
Diamond Cut Audio DC-6 (for editing)>WAVE>CD and SHN.

Here is what was used for the AUD patches:
AudMC > DAT > Soundforge > CDWAV > SHN
Taper: Steve Rolfe Sony ECM 33P mic > TC-152 deck
A > D transfer by Noah Weiner - November, 2001
AudMC played back on a Nakamichi MR-1 > Fostex D5 (A>D only) 
Soundforge was used for normalizing and editing.

Note: US Blues encore from an unknown SBD source. DBX reel source was unusable.

Summary of editing:
Rob's decode was masterful and made my job easy.  Nothing was done to the sound
of the DBX decoded material. Just cleaned up a few issues and made AUD patches.
Cut after Peggy-O cleaned up - Aud source cut there also so no patch available...
Over the top guitar chord at start of Half-Step toned down a bit to save ears...
Two small gliches in Half-Step repaired.
Cut in Tuning after Tennessee Jed patched with AUD source.
Two small pops in Music corrected.
Tuning at start of Set Two patched from AUD source.
Small glich in Estimated repaired
Cut in Tuning after Estimated patched with AUD source.
Pop in Wharf Rat corrected.
Cut in Around and Around patched with AUD source.
Cut in Crowd before encore patched from AUD source.
About 10 bad pops removed from US Blues and it was Equalized
and gain adjusted to better match up with the rest.
All AUD patches were sonically adjusted to better match up and cross-faded
in to prevent a jarring change.

Disc One - Set One  -  73:37
01) Equipment Repairs
02) Bertha
03) More repairs
04) Cassidy
05) Tune Up
06) Deal
07) Tune Up
08) Jack Straw
09) Fennario (Pretty Peggy-O)
10) New Minglewood Blues
11) Repairs - Billy K's Birthday!
12) Mississippi Half Step Uptown Toodle-Loo
13)>Big River

Disc Two Set One + Two  -  60:39
Set One
01) Tune Up
02) Tennessee Jed
03) Tune Up (Aud patch)
04) The Music Never Stopped
Second Set
05) Tune Up (Aud patch)
06) Terrapin Station
07)>Samson And Delilah
08) Tune Up
09) Friend Of The Devil
10) Estimated Prophet

Disc Three - Set Two  -  61:28
01) Tune Up (Aud patch)
02) Eyes Of The World
04)>The Wheel
05)>Wharf Rat
06)>Around And Around (Aud patch)
07) Crowd (Aud patch) - Jerry's Guitar is Broke!\
08) U.S. Blues (Alt soundboard source)
source:  SBD > MR > DAT > CDR > WAV > SHNv3  

Disc 1 - 

Set 1 
01 Deal 
02 Cassidy 
03 Jack-A-Roe 
04 Mexicali Blues 
05 Friend Of The Devil 
06 New Minglewood Blues 
07 It Must Have Been The Roses  

Disc 2 - 
Set 1 (cont'd) 
01 Lazy Lightnin' > 
02 Supplication 
03 High Time 
04 The Music Never Stopped 
Set 2 
05 Jack Straw 
06 Ship Of Fools 
07 Estimated Prophet > 
08 Eyes Of The World > 
09 Drums >  

Disc 3 - 
Set 2 (cont'd) 
01 Drums > 
02 The Other One > 
03 Stella Blue > 
04 Around And Around Encore 
05 Brokedown Palace 

thanks to bear g. for the seed. DAE: EAC (high n' secure, offset corrected) > shntool (boundaries confirmed)   > mkwact > ftp via neo_levo. 
LINEAGE:		SBD > 2-TRACK RTR @ 7.5 i.p.s. > Marin County Source 24/96 digital multi-track > SSSB
RELEASED ON:	03/29/02

OFFICIAL SHOW NOTES:  LINEAGE: SBD > GD Master RTR (7.5 i.p.s.) > Marin County Source ADAT > SSSB; any/all editing, fades, NR, hiss elimination, phase shifting, time smear correction, digital jitter elimination, EQ, and quantization noise elimination (when down-converting audio for CD-R mastering), were all performed using 24-bit / 96 kHz digital realm processing at Serafin Station Studio B using the "code name Harpoon" editing software (Beta V0.948.72 Build 103)


1977... what a GREAT year for fantastic shows, and some of the BEST sounding recordings through the decades.  This show does NOT disappoint in keeping this "tradition" going!

I was lucky enough to be able to obtain a NON-PCM version of this show from the archives...  straight from the original reels (I don't know why, but this show is being worked on by the Vault engineers;  my MC source got a transfer from the original reels, and put the audio right onto multi-track 24-bit / 96 kHz sampling rate digital tape (4 sets of 2-track audio, just for "safety reasons" in case one of the channels had a problem.  The crispness of this transfer comes shining through.  Also, without the show having the PCM (which would have been 8-bit) in the lineage, you tend to get much more of the audio detail coming through.

There's just the smallest bit of the original RTR hiss left.  If I tried to remove any more of the original hiss, the show's audio itself was becoming "corrupted".  Believe me when I say that the hiss is so minimal, you're not going to really care... and a lot of people aren't going to hear it unless you have your audio system volume cranked WAY up!

I'm going to say this show was really energetic (as it was), and very good, but it's not one of their most stellar "giving it all they've got" performances.  Don't get me wrong, it's a dream to hear the songs, how they were played, Donna Jean was in EXCELLENT voice (no "fingernails on the blackboard" for the entire show), and the mix is excellent.

Ah, the mix... if you want to know how much Weir REALLY contributes to songs, this version of this show is a prime example.  You have all the vocals panned center, Keith and Billy on the left channel, Jerry's guitar in the center, and Weir and Mickey in the right.  Sometimes, Bob's guitar slightly "drowns out" Jerry's work, but that's only due to the fact that Weir's guitar is very present, and very clean/clear, in the mix.  But there's no point where Jerry's work cannot be heard.  You like hearing Phil? He's WELL in the mix, slightly hotter than normal;  but when I perform the "phase correction" processes, Phil's slightly louder than normal mix does NOT make the overall show sound muddy at all.  Crisp and clean, and wonderful job was done on this original recording.

Since Keith's piano is not always loud, and he's not constantly playing, the engineer's took the vocals for everyone, and added the analog reverb to the left channel to "fill it in".  The result is a well-balanced mix, with enough of the "processed vocal audio" in the left channel to make up for the lack of instrument volume.

There's a LOT of dynamic headroom in this show, no compression/limiting was used except to keep the very loudest drums beats "in check".  This is important, especially during the last part of Set II, where some VERY unusual soft passages to usually always loud songs were performed.  A great change of pace, they added the right touch, making the extended versions of the songs well worth their length... never boring or "get on with it"!

Ok, on with the show/song part of the review of the show itself.

As you folks probably know by now, I am a firm believer in leaving in ANY and ALL between-song lulls, tuning, quiet banter, and so forth.  It's the "archiving" part of me that believes that if the audience heard it when it was originally performed, so should the people who are enjoying it now!  As such, the closer to Set I, Bertha, winds up being the first song on Disc 2.

Set I was very long.  Since I release all of my shows to fit on the industry-standard 74 minute CD-R media, and Set I was a touch over 75:30, I had FOUR ways of working this "problem" out:

1: Remove some of the between-song lulls, where there's no tuning, or anything but crowd noise.  Not really acceptable to me (see my statement above concerning this).  I could have easily removed almost 3 minutes of "unnecessary" lull time, but this is not how I do things here...

2: Using the "Harpoon" editing software, I could have slightly speeded up the set, WITHOUT affecting the pitch.  The problem with this is again, it didn't happen that way, but the biggest reason is that there is sometimes unwanted digital jitter introduced into the audio when doing this process, as the editing program is actually "throwing away" digital bits.  I have experimented with this with some commercial work, and it's about 95% effective.  To a "good set of ears", you could hear the "dropped" sections.  Again, this would make the final audio less than desired...

3: I could have setup Set I to use an 80 minute CD-R disc.  But since there's no industry standard for 80 minute discs, the result would be that the show may not play on everyone's audio equipment!  This was a "no-brainer"... keep the 74 minute disc choice, which makes sue that no one has any problems.

4: Cut the last song, and make it the first song of Disc 2.  This is what was done... there is the usual "10 second overlap" I use when I have to begin a new disc when there's still audio being played (this time, it was actually the crowd noise, etc.).  This also worked out better, in that Disc 2 is now longer, not really a "little bit on the short side" disc.  With the 8+ minutes that Bertha required (the Set I closer), it "padded" Disc 2 very nicely.  I did the usual 10 second 6 dB logarithmic fade out, and then left a very small bit of silence at the end, so that Samson, the opener for Set II, was allowed to come in nicely.

Set I had only "single songs", no two-song-combo's.  The Music Never stopped was a very nice opener for the show, and it set the tempo nicely.  There were only very minor mix adjustments made during that song, and you will not hear where they were made unless you REALLY concentrate.  I did not "mask" the changes, as they were very subtle to begin with, and they didn't need to be given any outside assistance.  A really soulful 14 minute Sugaree follows, and the audience knew they were going to get their money's worth this evening!  A short, but good Mama Tried is next up, and almost expected to hear a segue into another song, but there was no hint of it at all.  What WAS great was Bob's little monologue to the audience about the show starting late... there's a great joke in there, so don't fast-forward past it!

The way the engineer's mixed this recording, Donna's wonderful Sunrise really hit the mark next. Really a sweet version, one of the better one's I've heard.  Two back-to-back kick-ass songs followed, Deal and then Passenger.  Brown-Eyed Women was satisfactory, not one of their best versions.  Nothing wrong with it, but it just seemed to lack a little something.  Bobby came in with a very good Looks Like Rain, giving it just the right accents at the right time.

Jerry did a very unusual opening to Jack-A-Roe.  Almost sounding like he was just strumming to pass the time, it was "planned" by him as just a little change from the ordinary opening to this song.  I really liked this opening version better than other variations I've heard.  It's pleasant, soft, appealing, and it draws you into it.

A better than average Minglewood closes out Disc 1, and the set's closer, Bertha, does not disappoint one bit.

Set II is where the show REALLY shines for this performance.  A bright and "harsh" Samson kicks things off.  Nothing really special about this version, except that it was not mediocre.  In comes Jerry with a slow and mellow High Time.  He gave this evening's version a little more soulful sound, both in his playing as well as his vocals.  Big River, which kind of shocked me for being in Set II gave a nice twist to the performance.  I expected a segue into another song, but again, this was not to be.  This was the end of the "single song" part of the show.

Now comes the one into the next, with a mix of songs, and how they were performed, which should bring a smile to your face when you listen to it.

Jerry kicks things off with a great 10 minute Terrapin Station.  Good to hear that song, and with Donna Jean being in good voice (and having a monitor to hear herself in), it's really a pleasant version.  Here's where the "dynamics" I spoke of begin.  There's a really low volume section which you think is the segue into the next song, but they begin again with their louder volume continuation to complete the song.  Estimated Prophet is next up, and Bob gives a very good performance, again, knowing which words to accent for the "effect" of the lyrics.  This is also where a RTR change came in, but I was able to cross-fade the two sections as seamlessly as possible.  You can tell where is occurred, but it's not "glaring" and painful to hear.  The most difficult part about cross-fading is making sure you get both the percussion matched up so the song doesn't change it's back beat, as well as finding a point to cross-fade any instruments which are playing.  I had to delete close to 25 seconds of the new reel to accommodate this.  Not a lot is lost in the transition, probably less than a minute in all.  Prophet goes off into a small, but very sweet jam, and you can tell by it's tempo towards the end what song is coming up next...

Yup, you guessed it: Eyes Of The World.  A really sweet 12.5 minute version which is quite enjoyable, easy on the ears, and not a lot of overdoing it on the solo's for Jerry's guitar.  He had that knack for knowing which shows/songs needed more or less of his guitar solos, and tonight, he nailed it.

As Eyes fades out, you begin to hear Billy and Mickey start up on Drums... this is where Disc 2 ends, giving you 10 seconds of their solo percussion, and then a 10 second fadeout.

As Disc 3 starts, you get the same thing, with the "pre-fade out" 10 seconds of Disc 2's end fading in, and then the first 10 seconds of what you think is Drums.  FOOLED YA!  No, it wasn't Drums at all, but a percussion-only into to NFA.  After about 10-15 seconds of the percussion only section, you begin to distinctly hear NFA's beat coming in.  They did a wonderful job of sneaking it in slowly, but surely, nice and easy. A SIXTEEN-PLUS minute NFA is just about as good as it gets.  Again, for this night's version, they're loud and proud singing it, but then they begin fading their playing/singling volume down really to a very quiet level...  if I were' to have used any compression/limiting, it would have ruined the dynamics of this section.  They're not subtle about bringing the song's volume level back up... it hit you like a sucker punch! A real rip-rowser version, in my opinion.  They then begin the segue into (you guessed it), GDTRFB.  Again, they do the loud/soft passages routine, and they pulled it off nicely.  Just over 8.25 minutes worth (wish it would have been a little longer, and they do a good on the fly segue into Around & Around.  Johnny B. Goode would NOT have worked with this segue, and they chose the right Chuck Berry song to go into.  It's a great close to Set II, and you know he crowd wants more, but it was not to be.

Only the encore is left... Uncle John's Band rounds off the evening's performance.  Instrumentally, it was done right on the money, but almost every verse and chorus had someone screwing up the lyrics.  Not only Jerry, but Weir and Donna as well. Everyone got into the "befuddled zone" for this one.  Still, the harmonies and instrument playing make it well worth the mistakes in the words that were made.  After the song ended, the tape kept rolling, and you can hear the equipment being broken down, the audience still buzzing about the wonderful show they just witnessed, and so forth.  I kept all of this in up to the point where the tape deck was shut off.  And, of course, I did fade out the last 10 seconds, so as not to be abrupt.  But it's nice to be able to hear the audience's appreciation for the show, which is not always recorded or kept by many who taped shows.  It only seemed right to keep all of this in, with the little unplugging clicks, the equipment being turned off, etc.

I hope you all enjoy this very sweet version of this show.  And thanks to my MC source for getting me the non-PCM version. This made the sound all that much better.

PERSONAL RATINGS: (on a 1 to 10 scale with 10 being excellent)
Audio Mix: 9.7 (Weir could have been a little softer in the mix)
Audio Quality: 9.9 (the minute remaining RTR hiss is the only "minus")
Energy Level: 9.5
Show "Completeness": 10.0
Song Selection: ENTIRE SHOW 10.0
Surprises: Jerry's very different opening guitar lead-in on Jack-A-Roe, and the loud/soft passages for Set II's songs.
Recording Info:
SBD -> Master Reel (7 inch Master Reels @ 7.5ips 1/2trk) -> Dat -> CD

Transfer Info:
CD -> EAC -> Samplitude Profesional v8.0 -> FLAC
(3 Discs Audio / 2 Discs FLAC)

Transferred and Edited By Charlie Miller

Patch Info:
AKG D224 -> Master Reel (Tandberg 10XD) -> Reel -> Dat -> CD
Patch in d3t02 (St. Stephen) from 4:50 - 4:54
Patch in d3t07 (Sugar Magnolia) from 0:53 - 1:14
All other reel flips take place between songs, no patches needed.

-- This is an upgrade to all circulating copies.
-- Thanks to Paul Scotton for the source discs.
-- There are some kind of low-frequency pops in Franklin's Tower.
-- Mind Left Body tease at end of Not Fade Away.

Set 1:
d1t01 - Mississippi Half-Step Uptown Toodeloo
d1t02 - Jack Straw
d1t03 - They Love Each Other
d1t04 - Cassidy
d1t05 - Sunrise
d1t06 - Deal
d1t07 - Looks Like Rain
d1t08 - Loser
d1t09 - The Music Never Stopped

Set 2:
d2t01 - Samson And Delilah
d2t02 - Funiculi Funicula
d2t03 - Help On The Way ->
d2t04 - Slipknot! ->
d2t05 - Franklin's Tower
d3t01 - Estimated Prophet ->
d3t02 - St. Stephen ->
d3t03 - Not Fade Away ->
d3t04 - Drums ->
d3t05 - St. Stephen ->
d3t06 - Terrapin Station ->
d3t07 - Sugar Magnolia

d3t08 - U.S. Blues
d3t09 - One More Saturday Night
Source: SBD > GD Master 2" 8 Track RTR 15 i.p.s. (2 decks) > GD Vault 1" Mixdown Safety RTR @ 15 i.p.s. > MCS 24 bit/96 kHz ADAT > SSSB (SHNTOOL used and verified) 
Transfer: All digital processing performed at 24-bit/96 kHz sampling rate at Serafin Station Studio B using the "Harpoon" editing software V1.084.782; 
Post release - d1t06 - CD Wave (split to 06 and 07) > SHN - Dub Irie


Disk 1:

01 - Jack Straw
02 - Dire Wolf
03 - Beat It On Down The Line
04 - Peggy-O
05 - Mama Tried > 
06 - Mexicali Blues
07 - Finiculi Finicula
08 - Row Jimmy
09 - Minglewood Blues
10 - Loser
11 - Lazy Lightning > 
12 - Supplication 

Disk 1 Total Time: 65:53

Disk 2:

01 - Bertha > 
02 - Good Lovin'
03 - It Must Have Been The Roses
04 - Estimated Prophet >
05 - Eyes Of The World > 

Disk 2 Total Time: 46:37

Disk 3:

06 - Drums > 07 - Truckin'> 
08 - Wharf Rat > 
09 - Around & Around
10 - U.S. Blues (Encore)

Disk 3 Total Time: 59:02


Here is a show that is worthy of any good collection of Grateful Dead concerts - among the great shows from 78. This board is as clean as they get, and from a classic performance. Read Jay's extensive notes for more info than you ever knew could exist about a concert... - Dub 



As the "first show released in 2003", I figured I should make it a hell of a show to what I hope will be a
hell of a year.  I hope you agree with me that this show hits the nail on the head.

This is a little-known "set of factoids" about this show, which is almost always overlooked in the major
"publications and set list" of Grateful Dead shows: this concert was simulcast over Duke's on-campus 50 watt
FM radio station!  On the date of this concert, the University's FM station (which was 94.7 MHz at that time)
broadcasted it live; it's low power transmitter allowed it to be received by FM receivers within a 0.5 mile
radius of the University grounds (per their FCC license).

Many years later, in May of 1984, Duke University "donated" their RTR copies of this show to the Grateful
Dead's Vault, when the station was undergoing renovation.  Almost all of the oldest or "worst condition"
equipment was being totally replaced with (at that time) "state of the art eight track cassette decks" and PCM
decks; a brand new mixing consoles was designed and built by their engineering department students; and even a
small, but very nicely designed, "live studio" was added, where bands could perform a song or two if they were
doing interviews (live or for future broadcasts).

To make room for all of this renovation, the station needed to "clean house" of all their archived RTR (80%) and cassette recordings (20%); these were recordings that the station personnel felt they longer were either required to keep (per FCC rules), or the large quantities of stored RTR/cassette media were no longer of any "musical and/or historical" value to the University as a whole.  There were literally 1,500 RTR and cassette total recordings which were auctioned off (to past and present Duke University students and faculty only!), to help to defray the costs of the new equipment, and the renovation and expansion; any of the media which were not auctioned off were DESTROYED, not simply tossed into a dumpster.

But, there were NO Dead/related concerts or interview recordings auctioned off!  The students and faculty who ran the station agreed that rather than destroy the media that contained this particular show (and the other GD concerts and/or interviews which were made during previous Duke performances), this media would be better off going to their "rightful owners";  they shipped ALL of these recordings to the Dead!  This was a very Kind gesture, and one which eventually led to a favor in return being done: the Phil "requested" (aka "demanded") that the Vault people clean up and send back to the University brand new copies of EVERY ONE of the donated shows!  These were made on PCM, DAT, and other "modern day media"!.  
Because of this returned Kindness gesture, Duke's radio station will play these shows each year, on the day of the actual original performance, as a "treat to the students and faculty".  This information has been verified by the both Lemieux as well as my MCS.

Mere words cannot come close to accurately describing what a phenomenal performance this was show actually was!  Just the comedic overtones alone, in many parts of the show, have to be heard to be appreciated!  Listen to the section where the Stadium's personnel were "asked to adjust the lighting"... it shows how "nice" Weir could be when asking that something be done!

This show is a COLLECTOR'S DREAM!  the size of the collection is irrelevant; just "owning" a good to high quality copy of this performance makes it invaluable to one's Show Library  You need to LISTEN to this show, and to EXPERIENCE the dynamics (the loudness and softness of the overall volume during any of the songs performed) that the Dead pulled out their "Uncle Sam's Hat" with amazing results.  There are possibly a dozen shows, over the 30 years the Dead had recorded their performances to crowds both large and small, which come close to, or possibly excel this evening's performance!  This recording showcases the talents and craftsmanship of an "experience" which allows it to be admired and enjoyed, over and over, and you'll never grow tired of this recording.  It was accomplished, not by "slight of hand", not by the people involved in the mixing and recording, not by some the guidance of some sort of a "higher power"...  this was totally and completely the Dead doing this, both collectively as well as individually!  They Boyz absorbed the energy from the audience and the venue were radiating, multiplying it to the umpteenth degree, and shot it back out, wave after wave after wave, to every atom of every individual inside the Stadium!  This show was a unique experience for the audience... being able to both audibly and visually getting a glimpse of just one part of the overall "Grateful Dead Experience" which was very rarely heard, and even rarer to be experienced first-hand!

This recording hopefully will allow you to mentally visualize what took place that night, and for you to be able to hear this most unusual version of their music and their manipulation of it.

Every single one was an excellent choice in and of itself; the order in which they were played could never have been scripted.  Every song includes everything ranging from "well above average" to excellent solos, vocals which are to die for, perfectly performed jams, and each of the segues, with a single exception, all flowed flawlessly.  Personally, I think the only song they should have played, and this concert would have been the place for it to be performed, would have been "Weather Report Suite", or at least "Let It Grow".

All in all, this is one hell of an unusual show, but definetly NOT in any negative sense; it was a mixture of immense energy, fun and frolic, hilarity, musicanship of a calibre worthy the Dead, and 100% upbeat and strong... even when the slow ballads were played.  By the SBD engineers not using the usual level of compression and limiting, in either the vocal or instrumental busses, the audience that evening, and us enjoying this classic recording today, this recording stands apart from almost every other show the band had ever performed.  Some of the Betty Board shows have come close in this respect.  And, in fact, until parts of "Drums" were peformed, or when Jerry went "vocally ballistic" during "U. S. Blues", the C&L equipment was set to "very conservative parameters", according to my MCS!

Set I is good, for the most part: Keith's grand piano is clear, but not as audible (compared to his electric piano) as it should have been for the first 6 songs; Garcia's and Weir's guitars are also well balanced throughout the show, although Set II had their mix and channel balance slightly improved.  The percussion could have been a little better in Set I, as Mickey's individual drums can just a little buried beneath everything else in the right channel... this did improve during Set II.  Billy's mix and balance was great for the entire show.

The mix for Set II had all of those little kinks and the balancing worked out; is about as perfect as one could ask for, especially for the 1977-1978 years!  

There is another version of this show in circulation, one which supposedly was worked on by a person named "J. Henry"; I will say, for the record, it is good in many respects.  There is slightly more hiss (the Harpoon editing software confirms that there is an increase of +3.86 dB hiss in that version).  I cannot tell you the reason for this, as the lineage for the "Henry" version states that it did not have any additional analog generations.  The "advantage" of my MCS version has is that it is "direct from the Vault"; and it is one of the newly archived shows which have recently been made, using analog RTR media to keep the "warmth" of the audio intact and to keep the "harsher" sound of a digital recording from altering the overall sound.  This "re-archiving" is an ongoing process the Vault personnel, with Lesh and Hart overseeing all the final details, are doing to assure that many excellent, and very rare shows, do not going to deteriorate any more than they already have.

The Dead had played at Cameron Indoor Stadium a number of times before.  There seems to be something about this venue that always brought out the somethig extra in the Dead's performance.  There always seemed to be a bit more "fun" to their playing there (I have several other shows from that venue to back up that personal statement).  Maybe it was the "college campus atmosphere", maybe it was just the audience itself that always showed up; there's nothing I can't pin it down to, except to say that there was just "something" about Duke that made it more like a festival or carnival atmosphere.

JACK STRAW kicks off this night's show, and it 1s a REALLY KIND rendition.  While this was never an uncommon opener, you immediately begin to sense that this is going to be a "different" concert in some manner; a pair of very subtle (but necessary) adjustments to the mix are taken care of by the engineers at the mixing console in the first 2 minutes (bet you can't find them!); Donna's levels in the mix are right on the money...  not too "hot", not too soft.  Phil and the SBD mixing crew, during the sound checks, got it right when she's doing her duet with Bob.  And it didn't change once the show itself began.  Weir has got that unmistakable "crystal, but slightly edgey" effect set up for his 2 guitars this evening, which makes listening to his playing just that much more enjoyable.

And you think all is well, and Jerry moves forward to the mike for his part of the song... HIS VOICE IS AWOL!  You can hear  his mike is on, as his vocals are bleeding over into the mikes picking up the stage monitor mix, but his voice is just not going out to the "house"!  The Dead appear to be unaware of what's going on, as they can hear themselves in the stage monitors just fine.  The mixing console is set up correctly; no one accidentally hit the "mute buttons" for Jerry main and vocal FX channels, and his mike is turned on.  Listen closely, and you can hear the crew switching the input cables for Jerry's mike on the mixing console (there's a little audio sound that is the unmistakable sound of a cables being (un)plugged... but the question still remains: where's Garcia's voice gone?

After JS is finished, the crew thinks they have the situation solved.

DIRE WOLF kicks off.  Still no dice; now, not only are we missing Jerry, but Donna's vocal levels lower, and now Bob is getting quieter in the mix, during the chorus.  About 38 seconds into the song, you can hear when the engineers put Jerry's vocal channel into "PFL Solo" mode on the console (which means it only allows Jerry to be heard and all other channels are muted) for a few seconds.  All this time, the RTR deck, which is being fed by the "house buss" mix" is picking everything up, including the burst when the PFL is tried.  You can hear that Jerry's voice IS coming into the mixer just fine, albeit it slightly distorted, along with the audio from the stage amps and monitors.  The "solo" mode is cancelled and the regular mix continues to be recorded.  By the 1 minute mark, there's NO vocals left in the house mix at all.  I know the crew is scurrying around trying to reroute cables and busses on the console (as that's what they're paid for!), but it's kind of funny to hear the Dead playing... and you KNOW they're singing... but the vocals that were so great in the opener have now faded away into the sunset.

Let's forget about the vocal issues for a moment, and talk about Jerry's guitar solo during Dire Wolf.  He has his FX pedals, and amplifier adjustments set just right, and it sounds exactly like he's sitting down playing a pedal steel!  This is both spooky, yet so "comfortable", to hear this unique sound that Jerry was able to obtain for many of the '77-'78 era shows.  His guitar sound, because of the effects pedals as well as his guitars' highly-modified pickups, is able to faithfully reproduce that unique "slightly twangy" sound which all pedal steel guitars are known for; you hear he is not using a slide, and you also can pick up Garcia's "trademark" fingering and playing style techniques, so you know he's not sitting down on the pedal steel's bench... he's just standing there upright, doing his little side-to-side wobble, and playing his heart and soul out on a regular old guitar.

Dire Wolf is now complete, and there's a small bit of noodling going on;  listen close, and you will hear (mainly in the right channel) one of the engineers yelling up to the stage, telling the band what's going on.  You can't quite hear what's being said.  And all the audience can do is hope that the problems have been resolved.

BEAT IT ON DOWN THE LINE snaps to attention with a 12-beat intro; Bobby's and Donna's vocals are once again back in the mix, sounding good, with their levels back just like they had during Jack Straw.  So, what's the verdict when Garcia is ready to sing his "answer phrase" during the chorus?

SUCCESS!  YIPPEE!  Garcia's voice is resurrected from the ashes, rising up like the proverbial Phoenix!  Well, ok, so Jerry's vocals are a little hotter than they should be, compared with the other vocalists singing; but at least the bearded one has his echoing throughout the entire venue, and onto the reel of tape!  His levels were adjusted during the song, very professionally done little bit by little bit, and the show keeps on sailing along.  For the 2nd verse, Bobby, Donna, and the rest of the band did a "quieter" opening portion of it, as they were trying to get this new rendition down pat.  This alteration/variation from their usual version sounds really nice; remember, this is the Dead we're talking about, and they are staying true to their never playing the same song the same way tradition.  I REALLY loved hearing this new version the moment I heard it... I wish they would have kept it for many more shows.  But it was probably Phil was the one who vetoed this "change", and after a few more times they played this song in this new way, they went back to the old version.  As Gomer Pyle used to say "For shame, for shame, for shame."

Phil, as many of us know, was the one who really pushed hard for rehearsals, trying new things to keep songs from sounding stale, and the like; he always tried to listen a "quick mix to cassette version" of a few of the most recent shows during their travels to the next venue, and even when the band had a well deserved day off.  Phil would say "let's keep this, or let's change that".  A task master sometimes, a perfectionist ALWAYS... but he was also someone who has a very good "ear" for what worked more than just one time, and what was only a "one show wonder" version.  And that still holds true at the present time, with his current bands and constant touring; his bandmates still play loose and slightly varied versions for the more than appreciative audiences, even though there is still the basic underlying sound beneath the various sound layers.

Billy broke from his traditional percussion style, and used his cowbell more than usual during BIODTL (and a number of other songs this evening; just another example of this show being "something that is more than the usual great performance".  There's something that I like to hear when a drummer/percussionist uses a cowbell, IN THE CORRECT MANNER (i.e., not going overboard or just "teasing us" with a cople of hits), that can add that "little extra something" to the correct song.  It's not a piece of percussion equipment which (when played correctly) you notice being played, and pick up on ir right away; but it's unique sound when used in the right proportion rounds out the percussion sound.  It's a matter of a drummer's personal taste or particular style of playing, and it's always something Mickey or Billy would use IN MODERATION... not like something Fleetwood Mac or the Stones (think "Honky Tonk Woman") would use to excess and not just as an adjunct in a more than just a couple of those bands' songs.

Garcia's vocals are pretty much back to where it should be by the end of the song; things are really back to their festive moods once more.  FYI: According to my MCS, the TRUE reason for JG's "missing vocals" was the EQ unit, which fed the "house mix / RTR busses", had a defective mute/bypass switch.  This is why, when you heard the little "burst" of Jerry's voice during Dire Wolf, it sounded very "flat" and unnatural (don't consider the distortion as part of the equation).  None of the techs and engineers had looked at the level indicator on the compressor/limiter unit, which the EQ unit fed.  No one looked at the little round VU meters for the input to the compressor/limiter.  That would have shown them that there was no output coming from the EQ unit in the onstage equipment rack.  That's what the yelling was all about, to tell Harry to look at the meters on that unit.  Once the switch had been "played with" (there was just dirt on the switch's contacts!), there was now audio the mixer buss.

Harry stayed at the back of the stage so that he could keep tabs on the unit, and be ready to bypass, or change the unit out if need be, without delaying the show.  This is why Jerry could be heard in the stage monitors, as well as by the venue's audience, but not the recording decks; these EQ and C&L units were not part of the stage monitor feeds.

NOTE: I was "requested to include this information" in this text file, so that anyone who wanted to know what actually happened would not have to play "the guessing game", or try to believe which of the many rumors (which are still being bantered about to this day) were true.  Some people have said it was a bad mike, a bad cable, incompetance, and even done on purpose to get back at Jerry for an incident which allegedly took place a month prior to the show!  For the last rumor, I have not heard any specifics on the alleged incident, so I have no idea where that one came from.

PEGGY-O is the next song tonight... it's so sweet to hear a "younger" Jerry singing this one tonight.  He had that "little innocent boy" sound to his voice at times (prior to his many health problems from the 80's onward), especially during ballads performed around this time.  The intertwining of Weir and Garcia's guitars in this song is a thill to listen to.  Sometimes Bob will play a short lead riff, then Jer would imitate it, and on a couple of occasions, you get confused as to who was playing what part!  Never, and I mean never, will we hear playing like this again from any band.  As the years passed by, Bob's guitar sound became less prominent in the mix, and his playing style become more "angular" (his term for the chord progressions and the runs of notes he would play that began in the early-to-mid 80's!); his guitar work became almost impossible to hear during some shows;  some people and music reviews began to call his playing "obnoxious".  The time frame from 1969 through 1981, in my opinion, was the best time to really enjoy Weir's guitar work, and to REALLY hear how excallent of a musician he actualy was!

This song, played this evening, really showcased Bob's excellence as an extrememly competant musician.

MAMA TRIED gets the house rockin' again after the really beautiful Peggy-O.  You can almost sense the energy coming from the stage before the first notes are even played.  Even following a very soft, sad, and one of the most "soulful" Peggy-O versions I have ever heard just being played, the Boyz are in a "playful mood".  You can't always make out what they're saying between songs this show... but just the noodling, Keith's little piano passages (sure wish they had him mixed louder in the left channel), Bobby's little chord playing, Phils bass run, and such, these things all "add up" and tell the audience (and those of us fortunate to own this recording) that there's a hell of a lot more to come, and that it's ALL going to be good!

During Mama Tried, you hear Garcia's 5th and 6th string low on the neck (the "tiger roar sound") run of notes, ones that he's played on many songs for many hears, and just one of his "signature riffs".  As unmistakable as the growl from Duane Allman's or Brent Mydland's Hammond B3 (think of the opening of such songs as "Don't Ease Me In"), how the organ starts low and grown higher in pitch), Jerry lets a few of these little riffs and runs blare out in the opening minute; many of us remember just how great it is to hear the "old way" many songs were played.  Durings the small solos, Jerry lets out with the "C&W bending twang" that many Southern musicians made famous in the 50's and 60's.  Damn, you can hear the versatility in Jerry's repitoire of playing styles so far durinh this show, and we're only up to the 5th song!  Keith is slightly louder in the mix now, but it almost sounds like he's banging, not just playing, on the keys in order to get the volume loud enough.  That's definetly not Keith's style, and it sound like he's pushing things a little too hard just to get noticed by the sound people; Keith always was the "riff here, riff there, fill here, etc." type of musician when he's ticking the ivories, and this just sounded like he was not happy with the current mix levels.

Everything segues right into a smokin' MEXICALI!  No doubt this one was "going to be called", rather than "Big River" being chosen.  The overall scene is just too cool, the pace is too quick, and everyone's having too good of a time to let any other song be played.  Jerry's got his "Tex-Mex" playing style going full throttle (you can hear those "signature" 5th and 6th string notes I talked about, being played "loud and proud"); Bobby "put his cowboy boots and 10 gallon hat back on" to do some sweet, fast, down and dirty 3 and 4 string power chords throughout; Mickey's got his best snare groove going (most of his other drums are still buried in the mix); Billy has got to be smiling throughout this song, not with his usual stone face, really having a blast; and Donna, who's been absent for the last 3 songs, has to be off to the side of the stage, dancing and spinning for the crowd.

Ok, this great version is finished, so it's time for a small break in the action. Wait a minute... what's this I hear?  Funiculi Funicula? Not just played half-assed version, but totally out there, in all it's glory!  Whoa!  Where'd that one come from?

"I don't know, it must have been the venue..."

(Sorry... got carried away there.  Now back to our regularly scheduled program...)

A little noodling happend, Weir steps up to the mike to make an observation about the venue's illumination.  The commentary begins to segue into a rant of sorts.  Something doesn't quite go the way Bob wants it to, and now he's becoming "irked", in a little more than a tongue-in-cheek manner.  Phil has to get into this fracus...  I'm not going to reveal any more; just listen for yourselves.  Like I've been saying, this venue brings out the "Best Of The Dead", in more ways than just music!

I do believe that the "full-blown FF" that was just played was "requested" by the sound people, so that adjustments could be made to the mix.  The reason I say this is that things changed a little bit beginning with...

ROW JIMMY.  Keith is now playing his usual laid-back style, and can be heard much clearer.  Bith his grand and electric pianos are used during this song, and they are equal in volume.  Gee, it only took a bit over 6 songs to do this (satirical mode off).  Keith's fills and runs, during ANY song, can really help make any song sound full and rich, even if every other band member is a little more "incolved" in the song.  You really do not know how much Keith's stylings can be missed until you realize they're not being heard (bad mix, or he nodded off).

Jerry really gives us, both vocally and instrumentally, a quite satisfying and soulful rendition of this song; the "unique chord pattern", which is only played once during the song, is just somehow "accented" tonight.  You always hear it being played (it's that little section right after they sing "And don't you run off no more"); but this evening, you just really "notice" this more than usual, and it kind of hits you like "Hey, this is new!".  And it's strictly due to the dynamics of the music which have been put to "good use" so far this evening.

MINGLEWOOD comes up next.  No real surprises, just a very solid performance of this "better-than-the-original-version" song.  Everyone does their part, and they're all done it "The Dead's Way".  Everyone and everything's fast-paced, from the percussion and the back beat, to both Bob & Jer's guitar licks.  Nothing laid back in this one.  And Bob is belting this one out loud and proud!

LOSER takes front and center next.  Bob had a few problems with his EFX pedals, and you can hear him hitting a cord with his foot (little clicks) to get one of them to work.  His volume then comes up to it's normal volume.  Jerry's embellishing the words, adding a few well-placed accents in just the right places, not letting this song "go down".  After the 2nd chorus, Mickey and Billy do what sounds like a "military drum beat" effect, similar to what they'd done many times during the last part of Wharf Rat.  It sound weird when you read about it here, but if you listen to how it is done, it's actually quite effective, and tonight, it works well!  As I said before, this venue brought out the best in the Dead, for whatever the reason(s). Jerry just wants to keep going when his solo comes up.  Not the usual "one verse" length, but THREE TIMES the normal amount.  And he's really working the upper part of the guitar neck like there's no tommorow.  Sit back and you can picture him not wanting to let go of this song and let it come to an end...  it sounds like he could have played "variations" on this song for the remainder of the evening.  Even when the song finally winds down, JG just doesn't want to let that last vocal note go away.  What a treat and a pleasure to sit through this song longer than normal version!

Stepping up to the plate is the dynamic duo of LAZY LIGHTNING > SUPPLICATION.  The pitcher gets the sign and he throws a smokin' fastball... the batters all take a big roundhouse swing, and connects!  Going back... way back.... they hit it out of the park!  Jerry's solo in "LL" reminds me lot of older "Slow Hand" Clapton licks: simplicity, yet with a specific flare and style and just the "perfect notes" being played!  Don't expect an "all hell breaks loose, crazy jams, fire and brimstone energy" from this version, it's just REALLY DAMN GOOD; and the use of the "dynamics" in the songs (building crescendoes, then the band suddenly going "very quiet" to really place accents during parts of songs) shows up in this song!  In fact, EVERY SONG, during set I has this happen, to some degree!

Hey, maybe this band will become popular one day :)

Some people may say that this performace sounds more like a "studio recording", and to a small degree, this argument holds water.  But in the studio, you'd be using the mixing console and overdubs to do the dynamics, where as for this performace, it's done LIVE, in your face, no doubt about it's validity; no trickery, no smoke and mirrors (well, maybe for the drug crowd!), you simply can't deny this show and all it's excellence... and this is only Set I!  And lets face it, in ALL of the Dead's studio work, their energy had never come through to any degree.  Even the releases like "Without A Net" had the compression and limiting and more effects added, which dampened the energy that their dynamics would help unleash.

I can only imagine what the audience was thinking during intermission.  You've got to understand that at this point in the Dead's career, you had the Tour Heads there in force, the Faithful who couldn't go to many shows, as well as the "uninitianted" virgins here.  I can't think of anything other than talk of "Whoa!" or "What just happened?" and "Did we just hear what we thought we just heard?", and other such collective discussions between brothers and sisters who simply loved this band going on.

Well, the house light have gone down (hopefully The Dummy got it right!), and the members take to the stage again.  Mind you, as I type these "Personal Comments", many times it's done "on the fly" as I am working on the show; this is the case with this show.  I have NOT heard "note one" from the 2nd set yet.  So, I'm in as much anticipation as anyone who attended this show was in.  Let's see what transpired...

BERTHA... ah, the old standby!  But, wait, something sounds different... hmmm... Mickey's now more in the mix, and Jerry's voice doesn't sound as flat!  Looks like the techs got the job done during the break, and now I think we're gonna get an even tastier and toastier sound!  And from the sound of things so far, I'm right.  If you listen REAL close when Disc 2 begins, at about the 15 seconds mark, you hear Mickey ask "Looks Like Rain"?... possibly meaning he's not sure what song is to be played next.  Even though Bob has been doing his "metronome" strum for a bit, and there were a few of the opening chords played softly, the tempo would have been too fast for LLR.  It's possible Mickey didn't hear Jerry playing the chords, so he wanted to be 100% certain of the song coming up.  Everyone needed to be on the "same page".  Bob hears this question asked, and then a few beats later, stops the "click strum" and begins to draw his pick along either the 3rd or 4th string (you'll hear the sound)... just to be the "Confusion Prince" and comically add to the little bit of the "what's next?" question.  The song goes off without a hitch (well, a few of the words were blown... big deal!), the mix is beautiful, and it sounds like tonight is going to continue to be one of those extra special nights!  Donna did not doing her usual "screeching" at the end!  (I knew there is a God somewhere!)

And when Bertha's over and done with, they keep things moving with a really special...

GOOD LOVIN'!  "Rock Star Bobby" is in great form tonight, not just with the excellent guitar riffs, fills, and little solos of his own (let's not forget his sometimes "cheesy" vocals), but the energy and the vibes he's giving off as well.  When Jerry goes off into his extended solo, you can hear "the leader of the band" very subtly switching back and forth between the Latin style "La Bamba" sound and that form of note progressions, and the good old American rock and roll style.  He make is so seamless, so fluent, but you still can pick out where each of these two styles begin and end.  I found it just so wonderful to hear this mixture of "cultures" from such a talented musician who kept perfecting and experimenting with his style of playing for the remainder of his short life.

IT MUST HAVE BEEN THE ROSES.  Can't beat this song to mellow out any crowd.  Soft, slow, yet still giving off a sliver of positive energy all it's own.  The opening riff, with Jerry and Bob playing that wonderful harmony, it's unmistakable as to what the song is going to be.  A love song, a good ballad, and a simple yet complex composition.  Like the Dead themselves, it's an oxymoron; you have this mix of a low-key song that still stirs some powerful emotions and conjures up some great images.  A timeless song in the Dead's repritoire, I feel it is one which has never failed to be appreciated when played.

A little lull follows, and the Boyz decide what's coming next.  No real tuning or noodling to give it away.  A single, heavy reverb, powerful dual tom-tom strike by Billy can only mean one thing:

ESTIMATED PROPHET!  Surprisingly, it begins without Keith playing.  But it still sounds good.  You know there's something missing, and you can't quite put your finger on it; but listen closely and you will only hear Billy's percussion (and Jerry's guitar, slightly lower in volume) until the first chorus.  Then Keith kicks it into gear.  My MCS say that Keith was NOT nodding out, but making some adjustments to his electric piano settings.  During the middle, when Jerry takes off on a great solo, Keith's playing imitates, accentuates, and syncopates with almost every one Garcia's notes!  People say "I miss Jerry"... well, I miss Keith's stylings and playing!  I personally believe that his keyboard playing fit the band better than anyone else's, before or after!  Sure, he didn't sing, but Donna did, and that added the other piece to the music puzzle and anomoly known as The Grateful Dead!

At about the 6 minute mark, you can picture Bobby slowly stepping back from the mike, allowing his voice to trail off naturally; the audience knows there's going to be a jam coming up, the you can hear their applause and cheering, waiting to hear what magic is going to come from everyone's flying fingers and drum sticks!

And the following jam should NOT dissapoint anyone to any degree!  Phil kicks it off with his usual adjacent/tangent riffs and runs; and you just can't wait to hear what's going to be transferred from Jerry's brain to his hands.  Garcia makes the audience wait a bit, allowing Phil to really set the mood... Jer wants to follow Phil's lead, not the other way around.  Say what you will, but Jerry was NEVER one to intentionally steal the show; it just happpens that way some nights.  But it took every other member to build the framework for Jerry to work around!

The old man begins the first few notes with his wah-wah pedal almost half way down, setting the stage, by using this "sound" in the first set of notes that unloads begins an unforgettable soaring solo.  It swells and quiets in little bursts, like a miniature ocean with it's tide rolling in and out in slow motion.

After a bit of Jerry blowing everyone's mind apart, Bob purposely begins to play slightly louder; this is the cue to begin a nice and long segue / tempo change into the next song; everyone else in the band hears Weir's "change in style", and little by little, the tempo changes... the chord progressions begin to alter... the tempo begins to get faster and faster, and now we get another chance to hear one of the Dead's "staple" songs...

EYES OF THE WORLD.  Faster than "normal" in it's tempo, not your "usual" laid back version.  Every note played, every drum beat, every little bit of this version could have been easily slowed down to a mellow and slow version, and still not lose anything.  Played at about 1.5 times the usual the tempo, just sit back listen to Jerry's solo work.  Now imagine it played at "normal Eyes speed".  The notes still would fit perfectly, and even Weir's quick-draw 3-string riffs and fills would have worked; a wonderful song, and this upbeat and quick performance seemed to be just right and fitting, not only for evening's show, but because of the venue itself.  As I said early on, this venue had some excellent past shows here (and more would come later), so this evening's concert was just another in a long line of "WOW" shows done at Duke.  During the song, the drummers begin to purposely "slow down the tempo" to the usual speed version, and by about 4 minutes in, the song is now at the beats per minute "we" normally hear it played at in most shows.

Listen at about the 7:15 mark in this song... Bob does something I have NEVER heard him do before (or since)... he begings playing the "harmonics" on the 5th, 7th and 12th frets, and with the tone settings for his guitat, it sounds just like a vibraphone (think "Lionel Hampton" for those of you who don't know what that instrument it)!  Although it's only for a few notes, but when I heard it, I could picture old Lionel up there on stage, with the 5 mallets in his hands!  This is another "effect" Bobby did only on VERY rare occasions in the late 70's... I wish he would have used it more, as it just added something to his effects repritoire and didn't require a ton of effects of MIDI samples.

This song is edited down, due to the master having problems.  Another version in circulation has many edits in this area, causing the song to NOT stay "in time", with the 4-beat per chord progression staying valid; some parts would have 2 or 3 beats missing (and this is unacceptable)!

That being said, Eyes does end quite nicely... guitars, bass, and piano fading out slowly, and you can hear the Twins begin their tribal frenzy...

DRUMS!  (Disc 3 begins here)  Ah, the "Percussion Pair" are going after each other!  Billy and Mickey try to "screw with the other one" by changing rythmns in mid-stream, but it ain't working!  3 strikes, you're in!  They finally quite the "goofing around", and they begin to just get into their individual and syncronized grooves.  Things slow down, and come down in power and volume after about a minute and a half.  Billy goes off to the side and begins playing with his other toys, and Hart winds up wreaking havoc with the equipment!  Just past 2 minutes in, Mickey hits a kick drum a little to hard, and blows out a diaphragm on one of the drum mikes.  Listen closely, and you can hear Jerry moan "Oh, there goes the microphone" in the right channel!  Hilarious stuff.  I keep telling you this was a good venue!  The techs replace it during Drums; you can hear them moving it, repositioning it, as well as turning the mike on and off a number of times.  A while later, you hear Harry yell for Mickey to play louder, just to make sure everything else is going to hold up.  And LOUDER IT IS! 

After a bit of time, each of the drummers sense that it is no longer time to "play off of each other"; so they go and begin the own unique grooves, beats, and playing on many different percussion equipment.  It can sound very disjointed at times, and really, it is.  But isn't this the whole point of a Dead show?  I don't like when they did this, as I always felt they played so much better when they were in sync and working off of each other's beat and tempo.  But other people like it when they played this way... and that's cool with me.

After a while, they both get back in sync again, and although they're playing slightly different patterns, the basic tempo is the same (syncopation).  And they must have been running arond like crazy, as you've got Billy going over and playing Mickey's steel drum set(!) at times, then going back over to his own toy set, and back and forth.  I would LOVE to see a video tape of this show, in it's entirety.  I'm sure that the AV Department of Duke has this archived somewhere.

You can also hear when the mike(s) being changed, moved, and manipulated, beginning at around 10:00.  How much equipment did they really go through this night?  I heard a few drum sticks crack, and while those are pretty inexpensive, I know that the Sennheiser and Shure percussion mikes they often are not ($100 and up at that time!).  And, just for the hell of it, Mickey reached over and bangs on one mike pretty hard with a percussion mallet (there's a really nice "thud" that put the SBD racks' compressor/limiter into overdrive!.  Hey, it's a percussion sound, isn't it?

You can hear the crowd begin to get whipped up into a frenzy as the remainder of the Boyz take the stage and begin plugging in.  Jerry and Phil were near Keith's piano for most of Drums, drinking something fro paper cups.  Slowly, the drummers begin working their way back to their own drum sets areas, seeming almost reluctant to do so... almost wanting not to let go of their playing on the steel drums and the other percussion toys.  It's a very smooth transition, worthy of a Dead show.  The segue, however, was really not smooth, as they do take close to a 10 second break.  Again, maybe one or more of the band members were unsure of the next-up song.  But once the next song begins, it's a definite winning choice.

TRUCKIN' kicks off with only a few opening chords, and then "somebody blows the whistle" on them!  Again, this is Cameron, so anything goes!  The whistle was a cue to start over, just to screw with the audience.  Either way, it was a nice way to get out of their segue flub.  Truckin' begins again in earnest, and it is a very good version... I don't think there would have been a chance that they could have picked a wrong song this evening.

And speaking of flubs, Weir once again blows the words to the first verse.  And it's so bad that even he laughs at it!  We all know that there's something about Truckin' that almost always threw Bob off and he would get at least a few words, if not an entire sentence wrong.  But you DO have to admire musicians who admit when they make mistakes like this.  I believe that this is the only song, in the Dead's very expansive repritoire, that Bob almost always had a problem with.  A lot of us think "Jerry", when asked who was really bad at not getting the words right; but Bob is a very close second as far as I am concerned.  

I believe that Weir is too "conscious of getting the words right", and that is why he made so many mistakes with Truckin' over the decades.  It's subconscious, that's al.  Hey, if Garcia could get through Visions of Johanna on 7/8/95 without a hitch (and ket's not forget Jer's triumphant "fist in the air" movement!), you'd think Weir would get this one song down!  But, it's live, it's fun, it's The Dead!

For this song, it's Mickey who "leads" the rest of the band members in their "dynamics" during the performance.  When everyone else is playing softly, Hart starts with a couple of really loud drum beats, and the rest of the band takes their cue from him.  It sounds REALLY GOOD to hear him take control for a song.  Mickey has that flair for knowing just where and when to place beats, and set the rythmic patters (not knocking Billy, as he is more than adequate when it comes to this); but Hart sometimes likes to play like a man possessed.  Hell, I've seen him use actual bones from animals as drums sticks during many late 80's shows, all the way up to their final performance; not only during Drums, but during many other songs as well which had a strong percussion presence.  Soldier Field in 1994 was a good example of Mickey using unusual drum sticks during Set II!

During this song, this night, Mickey really shows he can be very much a leader as to how songs sound, not just being one of the guys playing the drums.

WHARF RAT... man, here is one of the saddest songs the Dead ever played (outside of Loser, which is more of a desperation song).  Bluesy and ballsy in it's tempo, faith and failure in it's words, what a powerful song, even when compared to Morning Dew.  And tonight's version does this song justice; there is no doubt that the people who collaborated in this song were more than pleased when they heard this show!  Every single member of the Dead plays their hearts out, backing up Jerry 150 percent.  And Donna Jean, who had been absent for a few songs, puts her wonderful voice to good use when she does her duet sections with Jerry; she sings it in a heartfelt manner: not to loud, not to soft, and she had the knack to know how to belt out lyrics with Jer, or lay back and just be her part of the whole.  Her voice blends with Jerry's "angelic" young sounding voice (at this point in his life) in a manner than defies description.  Just sit back and enjoy these two voices and souls blending and weaving the tapestry which this tragic song is made of.

Every other band member knows that this is "Jerry's time to shine" in the show, almost more than during any other song this evening.  They're all in sync, their dynamics are totally on the mark, and even Bobby knows when to strike a harder or softer chord, or even put insert a very slow strum.  Keith does a number of one-handed fills, just loud enough to be heard but not alter the musical balance.  Mickey is alternating between snare beats and rim shots, while Bill is doing some soft tom-tom rolls.

It's almost pure perfection!

And I would be amiss in NOT stating that this song also involved the engineers at the board!  Making sure that the mix brought out EVERY little nuance, especially during this song, where the quiet passages reveal all the subtle things that this group of individuals are able to pull together so well.  I can't really call it a "team effort", since everyone on stage has their own peculiarities and styles; but we have always known the Dead can be so versatile, I don't believe there was ANY genre, or form, of music they could not perform, and be able to pull it off without compromising their individial ways (EXCEPT with the exception of "Hip Hop" music, but not the "Fire On The Mountain Rap" that Mickey did)!  From opening note to the final fade, this version of Wharf Rat is nothing short of total bliss to listen to.

Everyone knows we're coming to the end of this show, so you got to break down the walls of Cameron with a high-power closer.  They chose AROUND & AROUND to caps off Set II.

I tried my best to make sure that the necessary crossfade between Wharf and A&A was as "clean" as possible.  I opted to go for the "making sure the drum beats match up" over several other possible ways to get around the problem.  This method turned out to be the "cleanest sounding, least harsh, and more pleasing" of any of 8 versions I attempted and listened to over and over.

Yes, a few words of Around are missing, and were not at full volume, due to the process chosen.  Or would you rather just one song suddenly stop and the next one abruptly begin?  That last option was never one which I would choose to ever perform, unless it was a totally "last resort / nothing else to do / only way out" situation.  I would say that the "last resort" option may only have had to be done only ONCE in a couple hundred instances of reel changes or tape flips.   Granted, most people do not have the studio equipment (both hardware and software), nor do they have the expertise to do what I am capable of doing in my Studio; so I would not flame anyone if they went and did the "chop" option.  People can only do things with what they possess.

Bob can't resist the urge to inject a little humour into thr lyrics when he gets to the point "When thr police knocked"; again I won't spoil the surprise.  Otherwise, this is a great closer, shooting back the energy to the audience at full force.  They haven't let up with their energy levels all night long.  And even though this has been a great and enthusiastic show to this point, even if they left a little bit out, I wouldn't blame them.

THE ENCORE: U. S. Blues...

Okay, it's an "old song" by now (played SEVENTY THREE times prior to this show, and used many times as an Encore)...

And okay, probably more than "a few dozen" people decided to bolt for the exits when the first chords of this song began to be played.  It initially sounded like a "typical show closer", just being played for the sake of having something to play, and the Boyz just wanting to get it over with.

All that I can say to the people who left early is: "TOO FRIGGIN' BAD"!  When I think that they missed out on what has to be the BEST version of this song EVER PERFORMED LIVE!

EVERY single member of The Dead are still totally immersed in this inexplicable "Cameron Energy Vortex"!  They have proved that they are "A Band Beyond Description" for the past TWO HOURS AND FORTY-THREE MINUTES!  They have given the audience a performance that is aurally reflected in this recording; taking colors, which represent the many huge and many subtle aspects of performing in this show, and painted a picture which no one can describe but everyone "understands". 

The encore in this show had to have the building shaking to a point where people outside the venue may have thought that there was a 8.0 magnitude earthquake going on inside the building!

Jerry is literally going crazy on stage, like an whirling dervish who downed 2 gallons of Starbuck's finest brew!  Never have I heard him sing ANY encore with such enthusiasm and volume levels that made him appear to be a "screaming wild man" bouncing off the padded walls of an asylum!  And there's nothing that can stop release of energy that was being bottled up prior to this song... it prevails, it pulses, and it's permiating EVERY atom one each of the band members.

I know Jerry was up there on stage, grinning from ear to ear, for the entire song; Phil was off into his own universe of the cosmos; Bobby had to be doing his Rock Star act "Vaudville-style"; Keith isn't tickling the ivories, but banging on them like some guy trying to get a bartender's attention in a crowded pub; Donna's dancing her butt off, whirling and spinning near her microphone; and Mickey and Billy are just playing like 2 peas in a pod... so identical in their riffs and styles and sounds, and yet still being unique in their own ways.

Jerry's vocal and guitar playing levels, starting in the first third of the song all the way to the very last string plucked, that you KNOW the sound people are constantly adjusting his compression and limiting, not to mention the mixer channel levels, just to keep any distortion at bay!  You can hear them making adjustments once they realize what is going on.  So even though you KNOW that Jerry is screaming into his mike, the recorded sound is not as loud as you would imagine; but you certainly can tell how much he's pushing the envelope!  I'm wondering how many throat lozenges he had to toss back once they began to unwind after the show...

After U.S. Blues is complete, when the band is ready to exit the stage for good this evening, Bobby does his high-pitched farewell "Thank You"... but the icing on the cake is when Phil does an eerie (and VERY close to actually imitating the voice perfectly) "Wavy Gravy impersonation" thanking the audience and saying good night!  The Grateful Dead are finally walking off the stage for the last time this evening (actually, it's past midnight!), and one has to wonder about the audience...  I know it had to take a few minutes the experience to begin to sink in, and the people are finally realizing what just happened to them!  "Whadda hell just happened" had to be the "community thought" going through everyone's blown minds!  And luckily, we have my Marin County Source to thank for sending me this most unusual show to give to all of you; PLEASE SPREAD THIS SHOW, UNALTERED, TO EVERYONE YOU KNOW WHO IS INTO THE DEAD!

I really have no clue how to finish this Personal Review.  Right now, I am at a loss for words!  And you folks know that is a very difficult thing for me to have happen!


SSSB SIDENOTE:  Outside of the technical problems on my copy, which I overcame as much as possible, I hope you all understand why I made a few of the decisions I did, in respect to correcting them.  The U.S. Blues one is going to be talked about for a while, and I still believe I did the right thing.  Hopefully, people who are trying to learn how to properly edit and process shows will learn by listening to this version of the Vault's copy, and the "corrections" I had to make;  to see that subtle edits, crossfading, and processes like the ones I did, can be accomplished by using the built-in options which are found on many of the less expensive/free music software programs, can be done.  It takes time and it takes patience.  Sometimes it takes trying multiple versions of a "fix", and having to walk away from your work for 30 minutes, just to clear your head.

Never be in a hurry to release a show.  Take your time, take pride in your work, and if need be, ask someone who has more equipment and/or experience to lend you a hand.  Take the piece of audio that needs work, and send it to people willing to help you learn.  Quality over quantity is going to allow the shows you work on to be more sought after... this takes a while.  For me, I've been an audio engineer for over 30 years... and I am STILL learning new techniques!  Yes, having a full Studio to work with beats just having a simple DAW sitting on a desk, but everyone has to start somewhere.

The biggest point I can make is that people should never release crappy shows into circulation just for the sake of "giving back".  That is sometimes looked at as being worse than a "file leech"!  Don't be afraid to ask someone for advice on how to do things.  Many knowldgable people will be more than happy to give you pointers, tips, and sometimes will yould your hand the process(es).  Not everyone is going to agree on software, techniques, and the like... but the more options and opinions you have at your disposal, the better off you are.  Hey, my $47,000 editing software I beta test is going to blow away programs which run $40... but you would be surprised at how many of the same "options" are available in either software package.  You may be limited in what you can do, compared to what I am capable of doing, but again, you have to begin learning somewhere and somehow!

I began to edit shows using the old splicing block and Scotch tape as a way to remove error!  Hell, nobody really does that anymore, since damn near everything is in the digital realm now.  But it taught me the importance of PATIENCE, as well as knowing what exactly was needed to be done.  When us "old farts of yesteryear" made those edits using the "cut and splice" method, there was NO GOING BACK!  There was no "undo" button on a keyboard that allowed you to do things over again!  If you screwed up, you had to go and make another copy to work on!  This taught us that taking our time, and doing things right the first time, takes less time than having to do everything over again from the beginning!  A perfect recording we had worked for hours on could be easily ruined because of the final edit we performed!  I've had that happen... I've made my share of mistakes over the years.  But I have never made the same mistake twice.

E-Mail me, or others who release excellent shows to the legal music servers, and ask us for advice.  Most of us will be more than willing to help people who are willing to take out advice.  Yes, there are a handful of people who won't share their "trade secrets", and to me, that's a piss-poor attitide to take.  That's being selfish and greedy and egotistical.

. . .

Due to a media defect on the ADAT copy I received, Jack Straw had 9 small sections of diginoise which were not able to be corrected without being noticed.  I used a different copy of this song (the "J. Henry" version), and replaced about 15% of the song with this "alternate version".  I was able to match up the audio, as far as the sound quality, EQ curve [comparing it to the original version] and such, so the replacement is 98.266% identical to the original.  This percentage is what the Harpoon editing software displayed to me when it performed the 27 unique and separate comparative processes required when asked to show how close two pieces of audio are to each other.

There were also 2 spots on this song, which were, allegedly, PURPOSELY ALTERED by someone who worked on this "replacement version" earlier in it's life.  I can say this will near 100% certainty, as the alterations occur in the same riff in the same place where they appear.  These "alterations" were corrected by myself as much as possible; small, yet slightly noticable, remnants of this can still be heard.  The first one appears at 02:10 and again at the end.

If this was NOT done on purpose, then I could have easily taken the 2nd riff, and replaced the 1st one with it.

NOTE: This is very similar to a type of "alteration" which was prevelant during the heyday of DAT trading, and was done by 2 "very respected" traders!  The premise of doing the following "alteration" was to insure that only these two people (besides the Vault) would be in possession of the "complete" shows; this was to assure that these could be used as "prized trade bait".

What this pair of Un-Kind people would do is to insert about 0.1 second of silence somewhere during 1 or 2 songs (usually the opening song was chosen, and the gap would almost always appear during the 1st verse); they would then delete a different amount of the show's audio (about 0.2 to 0.3 sconds long, so the "gap" could not just be "closed" or "cross-faded" to repair without being noticed.  This "practice" quickly became highly frowned upon by many people who received these shows within about 90 days after they began to appear; most of the shows affected by this were on 1993 > 1995 high quality SBD shows.

. . .

There is a fluctuation in the RTR Deck 1's speed, from 02:11 through 03:12, where the original RTR recording sped up, which resulted in the audio being slightly "too slow" when played back.

This problem was corrected by digitally altering the speed of the affected area to match the "calibrated" speed of the recording.  The resulting fix is within 3 hertz of being "100% correct", according to both the spectrum analyzer/frequency readout of the Harpoon editing software and "an old friend", my Korg DT-1 Pro digital chromatic instrument tuner. I felt that this problem should be corrected, as the audience did not hear this problem when the show was being performed. The pitch was shifted with a 38.296 cent shift, which also properly "shrunk" the time of this affected area 0.718 seconds.

. . .

At (originally) 03:15, there was a 0.58 second occurance of diginoise (-3.4 dB in volume, and very noticable); I performed a cross-fade, 3.78 seconds in duration, and match up both the song beats as well as Jerry's guitar solo. The cross-fade is 100% seamless; it cannot be detected unless compared with another version of this show.

. . .

At 06:15, lasting for approx. 2 seconds, there is a speed fluctuation in the RTR deck.  This is from the original deck beginning to fail.  The secondary deck is NOT yet pressed into use,

. . .

At end of song, after Weir talks to the audience, there was a 20 second gap when the 2nd RTR deck is gotten ready to be pressed into service;  the lead tech vetoes the idea for right now, and the show continues on Deck 1; the cross-fade to join the 2 segments back together is not as transparent as I would have liked it to be;  it is only slightly noticable.

. . .

The RTR deck is beginning to fail again around the 01:04 mark (slight warble); it is still the decision to stay with this deck.  

. . .

The RTR deck fails (stopped recording) at approx. 08:36, and lasted for 28.17 second; I took the next "complete section" and crossfaded it in, so there's a seamless point.  In total, there is 1:07 of totally or partially blank audio on the Vault's SAFETY copy!  The GD Vault original recording is fine, but it could not be accessed again by my for the copy that was sent to me.

. . .

There was a reel change here; both the end of Wharf Rat and the beginning of Around & Around were cut; a 3.2 second crossfade was made to join the 2 sections, matching the tempo and drum beats to make it very seamless

. . .

The VAULT SAFETY COPY RTR AUDIO FEED was shut off "just prior to the band walking off stage"... only EIGHTEEN SECONDS of applause was dubbed;  the audio feed to the deck was turned back on less than 1/2 second prior to the opening note of US Blues, which is why that song sounds like it is mssing something.  I took these 2 pieces of applause, mixed them together, and gave you as much as I could; I left some of the A&A applause "fade out" into the first 3 seconds of US Blues so it would not sound abrupt.

I was told by MCS that this was done "due to the original reel having deterioration problems in this area".  This is what was written down on the dozens of sheets of paper which are included in each shipment sent to me; these notes contain verified information about the recordings, little tid-bits of sometimes important info about the recordings, as well as specific "mixing instructions" if the recordings are other than 2-track versions inside the shipment.

. . .

There is a lot of volume overload distortion from Jerry's over-energetic singing in one verse that could NOT be fixed to any degree of normality way (this is on the Vault Master copy as well).  The "J. Henry" version seems to have had some audio patched", but it did not match the audio tempo, and was "quite disturbing" at best.  With the "Harpoon" editing software, I can remove (sometimes) quite a bit of the harshness from analog/digital volume overload distortion, but once it's been recorded onto ehatever medium, it's there forever to some degree.  Rather than having the distortion ruin this extraordinary performance, I removed the two offending sentences, performed a 0.35 second cross-fade, thus making this release sound like the verse just was never played.  Yes, this was probably not the best choice to some "purists", because of my beliefs of always trying "to keep the performance as natural as possible and to let people hear what the audience heard"; but the audience never heard the distortion occur.  As such, I based my final decision on "quality vs. what wasn't heard", so the end listener would more enjoy this spectacular performance. 

. . .

PERSONAL RATINGS: (on a 1 to 10 scale with 10 being excellent)
Audio Mix: 9.8 (Mickey's snare, Keith's grand piano, Jerry's guitar (the last one was only for a short time) were too low only during Set I; Set II's mix was right on the money.

Audio Quality: 9.95 [the RTR Deck 1 problems keep this show from being a perfect 10]

Energy Level: 15 [the between-song comedy, the musical dynamics, and the Encore adds the 5 extra points!!!]

Show "Completeness": 9.8 (the reel changes at the show, as well as the "cut applause" at the end are the "-0.2")

Song Selection: usual songs for the '77-'78 era; very good song choices/order played for this show.

Surprises: the Dead's aural dynamics during their songs, which is something I had only heard in less than 5 shows I have in my Show Library, was the best surprise I could choose from;  even though 1978 is probably one of the bands' best years, as far as their music goes, the energy level from this particular venue surpasses other '78 shows; and Bobby, Phil and "The Dummy" segment rounds this rating section off.Notes: Released: 01/22/03
Recording Info:
SBD -> Cassette Master -> Dat (44.1k)

Transfer Info:
Dat (Sony R500) -> SEK'D Prodif Plus -> Samplitude Professional v8.01 -> FLAC
(3 Discs Audio / 2 Discs FLAC)

All Transfers and Mastering By Charlie Miller
May 2, 2006

Patch Info:
Barry Glassberg's (FOB) Nakamichi 700 -> Cassette Master -> Dat -> CD
Jack Straw (patched from 0:00 - 0:22)
It's All Over Now (patched from 6:30 - 8:51)
Tennessee Jed (patched from 0:00 - 6:30)
Scarlet Begonias (patched from 0:00 - 3:26)
Samson And Delilah (patched from 6:15 - 6:49)
Wharf Rat (patched from 0:14 - 0:37)

-- Seamless transition between Discs 2 and 3
-- There are some azimuth problems from the Cassette transfer
-- Thanks to David Gans for the SBD

Set 1:
d1t01 - Jack Straw
d1t02 - Sugaree
d1t03 - El Paso
d1t04 - Friend Of The Devil
d1t05 - It's All Over Now
d1t06 - Tennessee Jed
d1t07 - Dancin' In The Street

Set 2:
d2t01 - Scarlet Begonias ->
d2t02 - Fire On The Mountain
d2t03 - Samson And Delilah
d2t04 - He's Gone ->
d2t05 - Drums ->
d3t01 - Space ->
d3t02 - Jam ->
d3t03 - The Other One ->
d3t04 - Wharf Rat ->
d3t05 - Sugar Magnolia

d3t06 - One More Saturday Night
Recording Info:
SBD -> Cassette Master -> Reel -> Dat -> CD -> EAC -> SHN
(3 Discs Audio / 2 Discs SHN)

Converted By Charlie Miller

Set 1:
d1t01 - Jack Straw
d1t02 - Tennessee Jed
d1t03 - Cassidy
d1t04 - Row Jimmy -> 
d1t05 - El Paso
d1t06 - Easy To Love You
d1t07 - Althea
d1t08 - Feel Like A Stranger
d1t09 - Don't Ease Me In

Set 2:
d2t01 - Shakedown Street ->
d2t02 - Bertha ->
d2t03 - Playing In The Band ->
d2t04 - Terrapin Station ->
d2t05 - Drums ->
d3t01 - Space ->
d3t02 - Saint Of Circumstance ->
d3t03 - Black Peter ->
d3t04 - Playing In The Band ->
d3t05 - Good Lovin'

d3t06 - Alabama Getaway
SBD -> Cm -> Dat -> Samplitude 2496 v6.0 -> CD -> EAC -> SHN
(2 Discs SHN / 3 Discs Audio)

I made a set of audio discs off of my dat. I didn't make any SHN's, so when someone asked for for a set, I had to EAC the master set of CDs in order to make these shn's. In other words, there is only 1 DAE step involved, and yes, I know how to use EAC properly.

Transfer Info:
Dat (Sony R500) -> 
Behringer UltraMatch SRC2000 -> 
M-Aido Dio 2448 -> 
Samplitude 2496 v6.0 -> 

Dat -> CD -> EAC -> SHN Transfers all done by Charlie Miller

SET 1:
d1t01 - Feel Like A Stranger
d1t02 - Friend Of The Devil 
d1t03 - New Minglewood Blues 
d1t04 - Tennessee Jed 
d1t05 - Cassidy 
d1t06 - It Must Have Been The Roses
d1t07 - Technical Difficulties
d1t08 - On The Road Again -> 
d1t09 - Beat It On Down The Line
d1t10 - Stagger Lee 
d1t11 - I Need A Miracle -> 
d1t12 - Bertha 

SET 2:
d2t01 - China Cat Sunflower -> 
d2t02 - I Know You Rider 
d2t03 - Lost Sailor -> 
d2t04 - Saint Of Circumstance -> 
d2t05 - Eyes Of The World -> 
d2t06 - Drums -> 
d3t01 - Space ->
d3t02 - Iko Iko -> 
d3t03 - Truckin' -> 
d3t04 - Stella Blue -> 
d3t05 - Sugar Magnolia
d3t06 - (Encores) It's All Over Now, Baby Blue -> 
d3t07 - Johnny B. Goode 
Source: Healy SBD Ultramix Patch > Sony D5 > MSC(Maxell MX90 Type IV Cassettes).
Transfer: MSC playback on Nakamichi DR2 > gold connector shielded 3ft RCA monster cable > Audiophile 2496 soundcard /P4 2 GHz > recorded as 24 bit/48 KHz WAV using Wavelab 5.

Mastering: Wavelab 5.0 (24/48 files rendered to 16 bit/44.1 KHz using Waves L3 Multimaximizer with hi resolution CD rendering settings (threshold -2 dB / ceiling -0.1 dB / type I dither / ultra shaping) > tracking with CDWAV 1.9 > 16 bit FLAC.

Original Transfer and encoding by Chris Ladner.

EAC Rip: CD > wav (no errors)> Flac 16 (Level 6) by Dub Irie 4-21-2006


Hell In A Bucket, Loser, Me & My Uncle, Big River, Ramble On Rose, Just Like Tom Thumb's Blues, Hey Pocky Way, Cassidy, Might As Well Cumberland Blues, Samson & Delilah, Ship of Fools, Women Are Smarter-> Drums-> Jam-> Truckin'-> I Need A Miracle-> Morning Dew-> Turn On Your Love Light, E: One More Saturday Night, E: Black Muddy River 
Chris Ladner's Recording Notes...
Big thanks to the provider of the MSC's who for various reasons wishes to remain anonymous.
Levels at the beginning of the first set were generally low for the first minute. I adjusted this post transfer using Wavelab.
The beginning of "Cumberland Blues" is clipped - I patched the missing 10 seconds from the FOB Schoeps source. 
Brief tape flips occured during non-musical segment between "Just Like Tom Thumb's Blues" and "Hey Pocky Way" and during "Space" and were crossfaded into audio imperceptibility using Wavelab 5.
This source does not have any skipping during "Black Muddy River".

As far as Healy Ultramixes go this one is SWEET - just the right mix of crowd and music. 
Crowd is chanting for Phil before JLTTB - listen for Phil saying "and my best friend my drummer won't tell me what it is that I dropped."
KILLER performances of "Loser" & "Ramble On Rose".

Dub Irie's Review...
Another must have for serious DeadHeads. Excellent transfer and mix by the masters. This is one mean mother of a recording. If you have a great stereo that never gets put to the test - well blow the cobwebs out of your woofers with this gem. A very special Healy Ultramix, IMHO. Smooth, natural sounding recording and for Cap Center, unprecedented ambience. It's about as good as you could ever expect from something that came off a cassette master. This is a beautiful high energy show overall. Check out how explosive this version of Hey Pocky Way is - Phil just tears it up with some ripping bass. Jerry was very up on this very grooving night - check out "Might As Well" and "Ship of Fools". A+ show.

Many thanks to Dan Healy and Chris Ladner!

Recording Info:
SBD -> Dat (48k)

Transfer Info:
Dat (Sony R500) -> Samplitude Professional v9.11 -> FLAC
(3 Discs Audio / 2 Discs FLAC)

All Transfers and Mastering By Charlie Miller
August 8, 2007

Patch Info:
SBD -> Cassette Master -> Dat (44.1k) supplies:
Start of show through Row Jimmy

-- Set 2 is seamless
-- "We Want Phil" chant after West L.A. Fadeaway
-- Thanks to Steve Rolfe for the patch source

Set 1:
d1t01 - Tuning
d1t02 - Iko Iko ->
d1t03 - Jack Straw
d1t04 - West L.A. Fadeaway
d1t05 - Stuck Inside Of Mobile With The Memphis Blues Again
d1t06 - Row Jimmy
d1t07 - Blow Away
d1t08 - Victim Or The Crime ->
d1t09 - Foolish Heart

Set 2:
d2t01 - Tuning
d2t02 - Crazy Fingers ->
d2t03 - Playing In The Band ->
d2t04 - Uncle John's Band ->
d2t05 - Terrapin Station ->
d2t06 - Drums ->
d3t01 - Space ->
d3t02 - The Wheel ->
d3t03 - Gimme Some Lovin' ->
d3t04 - All Along The Watchtower ->
d3t05 - Morning Dew ->
d3t06 - Sugar Magnolia

d3t07 -	The Mighty Quinn (Quinn The Eskimo)

Fix of shnid 3329

The following changes have been made to this fileset: The transition between CDs 1 and 2 is now seamless, the first two songs of set II were put onto CD 1 to allow the show to fit on 2 CDs.  The tuning track at the beginning of CD 2 has now been merged with d1t10, and shntool was used to fix the sector boundaries on all of CD2 and the last track of CD 1.  Nonseekable shns were converted to FLAC.  No need for fade tracks on this one.

Bill Tetzeli (btet@adelphia.net)

CD 1

1. Iko, Iko
2. Little Red Rooster
3. Bertha
4. Me & My Uncle >
5. Mexicali Blues
6. Built to Last
7. Picasso Moon
8. Birdsong

	Set II:
9. Foolish Heart (takes a while for whole band to kick in) >
10. Victim or the Crime

CD 2

1. Crazy Fingers >
2. Man Smart, Woman Smarter >
3. He's Gone >
4. Drums >
5. Space >
6. The Other One >
7. Black Peter >
8. Turn on Your Lovelight

9. Knocking on Heaven's Door
Fix of shnid 6678

I made the transition between CDs 2 and 3 seamless, fixed the resulting SBEs with shntool and converted the nonseekable shns to flac.  The unSHNed WAV files had noncanonical headers - since FLAC conversion strips unnecessary header information, I didn't need to use shntool's strip mode to render them canonical.

Many thanks to whomever did the DAT>CD transfer and provided the overlap that made this fix possible.

Bill Tetzeli (btet@adelphia.net)
8:52 PM 4/8/2006


CD 1 
Jack Straw 
Wang Dang Doodle 
Brown Eyed Women  
Queen Jane Approximately 
Row Jimmy  
Let It Grow  
Valley Road

CD 2 (set ii) 
Picasso Moon  
Foolish Heart  
Looks Like Rain 
Terrapin Station 

CD 3 (set ii cont.)
Drumz > Space  
The Wheel >
I Need A Miracle >
Black Peter  >
Turn On Your Lovelight
The Weight

Piped in By Steve Barbella
October 2001
Disc 1
1 Help On The Way >
2 Slipknot! >
3 Franklin's Tower
4 Little Red Rooster
5 Loser
6 Just Like Tom Thumb's Blues
7 Let It Grow

Disc 2
1 Scarlet Begonias >
2 Fire On The Mountain >
3 Truckin' >
4 Spoonful >
5 Dark Star >
6 Jam >
7 Drums >

Disc 3
SET2 (cont.)
1 Space >
2 Dark Star >
3 The Last Time
4 Standing On The Moon >
5 Throwing Stones >
6 Not Fade Away
7 ENCORE Werewolves Of London

Conversion: EAC(secure)>CD WAV>Cool Edit Pro>SHN(seekable)

 SET 1
 CD 1 {45:34.36}
01. Hell In A Bucket {5:55.07}
02. Jack A Roe {4:57.05}
03. The Same Thing {7:38.63} 
04. Stagger Lee {5:31.09}
05. Black Throated Wind {6:15.54} 
06. Dire Wolf {3:43.68}
07. Let It Grow {11:32.55}

 SET 2 
 CD 2 {58:54.18}
01. Scarlet Begonias-> {9:12.40} 
02. Fire On The Mountain->  {11:09.50}
03. Playin' In The Band-> {8:30.53}
04. Dark Star-> {5:31.41}
05. Terrapin Station-> {16:50.08}
06. Drums-> {7:39.51}

 SET 2 Cont.
 CD 3 {38:28.41}
01. Jam->* {11:39.15}
02. Easy Answers-> {6:47.42}
03. The Days Between-> {10:10.28}
04. Good Lovin' {6:55.43}
05. I Fought The Law {2:55.63}

* Tubular Bells

COMMENTS: D2t01 (Scarlet Begonias) Healy's mics. for the crowd mix the levels change in 
the first few seconds. After that it's fine :) D2t02 (Fire On The Mountain) Static @ 
10:34 thought 10:38 right channel. I deleted right channel and replaced with left channel. 
D2t06 (Drums) Static @ :58 throught 1:04 right channel. I deleted right channel and replaced 
with left channel. Also a cassette flip and drop out @ 8:44 removed. End of D2t06 (Drums) 
and beginning of D3t01 (Jam) there is a drop out or blank space of music that was removed 
for seemless future use. I also chose to keep D2 track 1 through 5 uncut to keep the jam's 
together. This is one 3 disks but could be place on to 2 80 minutes disks but taking D2t01 
and D2t02 onto the end of disk 1 but as you will see it would be a shame to break it up.
Shntool confirms all sector boundries.

Conversion/Edit/Seeded to Etree by T. Wiley 9/13/2002.

EAC: Secure to extract all tracks @ 100% quality no reported errors.
CD WAV: To select tracks.
Cool Edit Pro: Preformed only on tracks listed above. (see comments)
SHN: Via mkwact(seekable)
Source: Schoeps CMC441s FOB > DAT > PC > WAV > SHN

CD 1			total	[63:42]
Set 1
01. Hell in a Bucket		[07:28]
02. Row Jimmy	  		[11:56]
03. Minglewood	 		[08:44]
04. Tennessee Jed		[09:21]
05. Queen Jane			[06:23]
06. Bird Song			[13:53]
07. Promised Land		[05:54]

CD 2			total	[68:53]
Set 2 part 1
01. Scarlet Begonias		[12:26]
02. Fire on the Mountain	[18:54]
03. Corrina			[09:29]
04. Terrapin			[15:25]
05. Jam				[02:52]
06. Drums			[09:45]


CD 3			total	[42:16]
set 2 part 2
01. Space			[17:49]
02. I Need a Miracle	 	[04:48]
03. Morning Dew			[13:47]
04. U.S. Blues			[05:50]

The only source info on the DAT jcard was Schoeps CMC441s FOB. No deck or power supply info.
Wav files checked with SHNtool to ensure proper sector boundaries.

Transfer info;
DAT Clone > Sony PCM R300 > RME digi96/8pro > WAV (no DAE)
SOundforge 4.5a for recording and normalizing
CDWAV for track splits > SHN/seekable using mkwAct
Seeded to Etree by Marc Pujol on 03/17/2002.
Source: DSBD > TDC-D7 (44.1 kHz)
Transfer: TDC-D8> POC-DA12P (7pinToOptical)> Digi001 I/O > Pro Tools 5.01> Wav > Shn

Disk 1
Hot Dog
Planet of the Superkids
Get a Job
Sunday School
Hot Pants Breakdown
Tenor Man
Volcanic Acne
Toys R Us

Disk 2
II: Intro
Flood in Franklin Park
Ain't it Funky
I Got a lot of Reasons
Fire Eater
Jack Rabbit
Miss Riverside
Right On

Disk 3
Quantico, VA
E: Happy Friends

Sound: A
Show: A
DSBD: UAI > Panasonic 3700
Transfer: Panasonic SV-3800 > Monster Coax > Audigy Soundcard >
Soundforge 6.0 > CD Wave > flac

looks like most previous sources circulate with the last 3 songs missing.
This show is complete, provided there was no encore. No one on db.etree lists an
encore so I suspect there was not one. This is VERY nice. Enjoy! teddy dunski

Set I:
1. The Jody Grind
2. ?
3. Volcanic Acne
4. Let the Music Take Your Mind
5. Lady Day And John Coltrane
6. Jack Rabbit
7. Turnip's Big Move
8. The Browns At Home
9. Right On
10. ?

Set II:
1. Quantico, VA
2. ?
3. Ain't It Funky Now
4. Check Out Your Mind
5. Toys R Us
6. The Many Moods of Erik Newson
7. Taxman
8. Jam Sandwhich
Disc 1

01 GC: Stuff That Works
02 JE: All Just To Get To You
03 JH: Ethylene
04 LL: Record Lady
05 GC: Texas 1947
06 JE: Twisty River Bridge
07 JH: Perfectly Good Guitar
08 LL: Black's My Truck's Name
09 GC: Let Him Roll
10 JE: Ranches And Rivers
11 JH: Crossing Muddy Waters
12 LL: LA County
13 GC: The Cape

Disc 2

01 JE: My Baby Thinks She's French
02 JH: Memphis In The Meantime
03 LL: Some Things My Baby Don't Tolerate
04 GC: Out In The Parking Lot
05 JE: My Eyes Got Lucky
06 JH: Icy Blue Heart
07 LL: Step Inside This House
08 All: Blowin' Down This Road (Woody Guthrie)
09 GC: Dublin Blues
10 JE: Me And Billy The Kid
11 JH: Riding With The King
12 LL: The Road To Ensenada
13 All: This Land Is Your Land (Woody Guthrie)

Sound: A-
Show: A-
75-Sept - WGTB Studios Georgetown University (40min) E-

Performed live in front of an audience (different performance from the Sounds Reasonable one)
It appears that the correct date for this show is Sept, not July-4. There is confirmation from a WGTB DJ and
a fan's hazy memory ;) - Thanks Ted. From WGTB's 2nd and final Pandermedia Fundraiser in 75-Sept.

Happy The Man

WGTB Georgetown University

Disc 1 - 39.56
1 Leave That Kitten Alone Armone 8.54
2 Broken Waves 5.54
3 Death's Crown Part 3 (Open Book) 15.49
4 Stumpy Meets The Firecracker In Stencil Forest 4.41
5 Mr. Mirror's Reflections On Dreams 4.38

Mike Beck Drums
Rick Kennell Bass
Kit Watkins Keyboards
Stanley Whitaker Guitar, Vocals
Frank Wyatt Keyboards, Wind Instruments

Recorded before a live audience, unlike the Sounds Reasonable program
on 75-Oct-30, which was a studio playback (though not of the official

Both were broadcast by WGTB and have the same woman DJ announcer.

This recording is generally listed as 75-July-4. However, it has come
to my attention from a fan who was there, a WGTB he talked to about it,
and the article from Unicorn Times (see link), that this show almost
certainly took place in September, not July-4. Based on this, I am now
going with the September date.

Welcome to the BTSwiki. You can browse by recording source or music genre (sorry) by using the menu at the left. You can also hunt for stuff (like names) using the search box at the right.

This site has an RSS feed. You may subscribe, in which case you will know whenever I add a new entry or update an old one. If you are using Firefox, you know how to grab an RSS feed. If you are using IE, please switch to Firefox.

This list is sort of mirrored at http://db.etree.org/bmaddock . Actually, this wiki is more inclusive, as etree doesn't list everything I have and I'm too lazy to add it to their database every time.

As of whatever date this entry was updated, this site lists about 20% of my collection. This means that you should feel free to inquire whether I have something you're looking for that isn't listed.

Drop me a line if you see something you'd like.

cassette > PC > wav > CoolEdit2000 > EAC > CD-R > flac

01 The Power and the Glory
02 Blindman
03 Summers Most Wanted Girl
04 Unapproved Road
05 Amazing Offer
06 Warm Sweet Breath of Love
07 Trouble with a Capital T
08 Guests of the Nation
09 Ricochet Man
10 Soap Opera
11 The Man Who Built America
12 Speed the Plough
13 Sure the Boy Was Green
14 Loneliness
15 Sword of Light
16 Dearg Doom (The Red Doom)
17 Shakin' All Over
18 New York Wakes
Spirit of the Land
Hardstone City
Give It Up
Hallelujah Jordan
Christchurch Bells
I Can See Clearly Now
Don't Go
Bean Phaidin
Down By The Riverside
Feet On The Ground

Sound: A
Show: A
I'm Sorry
An Emotional Time
Hardstone City
Thing Of Beauty
One Tongue
Don't Go
Stand Beside Me
Be Good
This Is it (Your Soul)
Feet on The Ground
Isn't It Amazing
She Moves Through The Fair/Hallelujah Jordan
Boys From Armagh (Marie from audience)
Give It Up
Banished Misfortune
Si Do Mhamo I
Good For You

1.1 Overture 4:00
1.2 Provider 1:39
1.3 Subterranea 5:29
1.4 Sleepless Incidental 5:58
1.5 Failsafe 8:42
1.6 Speak My Name 3:45
1.7 Tunnel Vision 6:49
1.8 Infernal Chorus 4:49
1.9 King Of Fools 2:16
1.10 The Sense In Sanity 4:40
1.11 The State Of Mind 2:13

2.1 Laid Low 1:33
2.2 Breathtaker 5:27
2.3 Capricorn 5:53
2.4 The Other Side 2:25
2.5 Unsolid Ground 5:03
2.6 Somewhere In Time 6:39
2.7 High Waters 2:31
2.8 The Narrow Margin 20:42

3.1 The Wake 7:11
3.2 Human Nature 11:39
3.3 Out Of Nowhere 9:50
3.4 The Last Human Gateway 22:57

Paul Cook - Drums and Percussion
Mike Holmes - Lead Guitars and Keyboards
John Jowitt - Bass Guitars and Vocals
Peter Nicholls - Lead Vocals
Martin Orford - Keyboards and Vocals


    In January 1997, IQ began work on "Subterranea", their sixth studio album 
and without doubt their most ambitious project to date. The 105-minute 2 CD set 
would form the basis for a completely new stage show. "After we'd finally managed to 
release "Forever Live", we didn't really want to release a single studio
album", explained Mike Holmes. "We felt it would have been a bit of an
anticlimax after the quality and standard of the boxed set. We also had
quite a bit of material kicking around".
    Peter Nicholls: "When we were writing "Subterranea:, I came across
loads of old rehearsal tapes with ideas that we'd never finished because
we'd got sidetracked by something else. There was an awful lot of material
there that we felt we should have another look at." The decision to build
the album around a concept was and important one for the band, as Martin
Orford remembered: With this album, it was nice to have the framework of
a story to work to so that we knew the sort of pieces we had to find for
particular sections."
    So creative wre the "Subterranea" writing sessions, though, that IQ
had no need to resort to reworking unfinished ideas. In Fact, two tracks
"The Universal Scam" and "Eyes Of The Blind", were omitted from the final
album, only being released two years later on the rarities CD, "The Lost
    Originally, we were only intending to play the middle section, "Peter
later recalled, "but then we decided to surprise everyone and do the whole track !"
    After this memorable concert, IQ returned to The Met for the final UK
"Subterranea" show and then headed off to Holland to film its last ever
performance, at the 013 in Tilgurg. This would later appear as the CD, 
video and DVD, "Subterranea : The Concert".
    Incredibly, the full "Subterranea" show was performed live only 16
times and those who saw it will never forget it. This triple CD package
captures some of the unique atmosphere in London on that special night.

Notes from the Re-Master
	This is generally a very good audience with music signal up to 
16,000 Hz. Pops and crackle were the most offending noise that needed 
to be removed. Also, The high range treble was too accentuated and lead
 to the pronunciation of the letter "S" as piercing so it was cut down.
 Applause was a bit too loud in many places so this was reduced where 
necessary. Finally, the last few minutes of the show were missing from 
the original source but we were able to track down a video of the show 
that had the missing section. We transitioned the audio from a high 
quality audience taping device to a video tape source. The transition 
works well but the reduction in quality is obvious. We felt it was 
important to include the complete show despite this reduction in 

Taper nycsteve
Sharp MT770 ,Soundpro mics>Goldwave> CDWave Editor
Expands to 2 audio
Disc 1 51:26 5Tracks
Disc 2 76:55 9Tracks

Sacred Sound
It All Stops Here
Leap of Faith
Born Brilliant
The Seventh House
No Love Lost
Widow's Peak
The Narrow Margin (middle)
Guiding Light
Harvest of Souls
Awake and Nervous
The Last Human Gateway (middle)
The Wake

Sound: C
Source: Audience Mini Disc Recording 
Taped by: SF 
Transferred by: SF 

01 Intro
02 The Wake
03 The Darkest Hour
04 Frequency 
05 It All Stops Here
06 Sacred Sound

CD 2

06 Breathtaker
07 Failsafe
08 Leap Of Faith
09 Human Nature
10 The Seventh House

remaster on 329 (?)

In A Stone Circle
In Sight Of The Minaret
In A Black Box
In The Grip Of Stronger Stuff
In Maternal Grace
In The Moneylender's Temple
In Defence Of Faiths
At Their Father's Knee
En Afrique
In The Olive Garden
In The Pay Of Spain
Bombay Valentine
Heavy Horses
Life's A Long Song
Sossity You're A Woman, Reasons For Waiting (medley)
Wond'ring Aloud
Cheap Day Return, Nursie (medley)
Dun Ringill
She Moved Through The Fair, Dust Devils (medley)
Locomotive Breath


Transfer:Unknown Handheld Mics>Panasonic DAT>Sony ES Cass. deck>Tascam CDRW4U>EAC(secure mode)>CDWav>FLAC(level 7 w/SB aligned)
Ripped from the AMJT News Group Tree release using Nero 7.
Encoded to FLAC using Trader's Little Helper.
Torrent file created with uTorrent.


Ian Anderson (flutes, vocals and acoustic guitar)
Andy Giddings (keyboards)
Chris Leslie (violin)
Jonathan Noyce (bass violin and bass guitar)


d1-1- Interview on WYNF-FM.flac
d1-2- Interview on KLSX-FM.flac
d1-3- Introduction.flac
d1-4- In A Stone Circle.flac
d1-5- In Sight Of The Minaret.flac
d1-6- Ian explains the show.flac
d1-7- In A Black Box.flac
d1-8-  In The Grip Of Stronger Stuff.flac
d1-9- In Maternal Grace.flac
d1-10- In The Moneylender's Temple.flac
d1-11-  Ian introduces the band.flac
d1-12- A Complete Pratt.flac
d1-13- In Defence Of Faiths.flac
d1-14- At Their Father's Knee.flac
d1-15- En Afrique.flac
d1-16- In The Olive Garden.flac
d1-17- In The Pay Of Spain.flac
d1-18- Sitting Right Next To You.flac
d1-19- In The Times Of India (Bombay Valentine).flac

No Step

d2-1- Heavy Horses.flac
d2-2- Life Is A Long Song.flac
d2-3- Sossity, you're a woman.flac
d2-4-  Reasons For Waiting.flac
d2-5- Perry  Noyce duo.flac
d2-6- Wond'ring Aloud.flac
d2-7- Cheap Day Return.flac
d2-8- Nursie.flac
d2-9- Dun Ringill.flac
d2-10- She Moves Through The Fair.flac
d2-11- Dust Devils.flac
d2-12- She Moves Through The Fair (reprise).flac
d2-13- Jack-in-the-Green.flac
d2-14- Bouree.flac
d2-15- Aqualung.flac
d2-16- Goodnight from the band.flac
d2-17- Encore Locomotive Breath.flac

This is an excellent recording of a show from Ian Anderson's first solo tour in support of his album "Divinities: Twelve Dances with God". The first CD is a straight run through of the album with a couple of interviews thrown in at the beginning. The second CD consists of reworked Jethro Tull tunes. A great show. Very different from a Jethro Tull show. The AMJT News Group released was mastered from a cassette I found at an East Lansing, Michigan record show. Lineage of the cassette is unknown to me. Exactly how the cassette was mastered is also unknown to me.
Taper: stephen@damohub.org
Lineage: DPA4060 > MPS6030 > JB3 line in, gain +6dB > WAV (44.1kHz)
Location: DFC, 5th row seated (~5m from stage), mics clipped to glasses
Transfer: USB > WAV > Audacity 1.2.0 (linux; normalisation and
splitting) > WAV > flac 1.1.0 (linux: "flac -V -8 *.wav")

Unfortunately the recording cut out partway through the encore.
You're missing most of 'American English', plus one more song after
that ('Goodnight').  If anyone comes across a complete recording,
please get in contact via email (above).  If you delete the incomplete
last track, the show will fit onto a single 80 minute cd-r.

Disc 1:
01  intro                             0:57
02  When I argue I see shapes         4:11
03  You held the world in your arm    4:44
04  I'm happy to be here tonight      4:00
05  I understand it                   3:51
06  Little discourage                 4:32
07  Welcome home                      4:29
08  Weight of years                   3:23
09  Not just sometimes but always     4:25
10  Live in a hiding place            4:49
11  100 miles                         3:50
12  El Capitan                        4:52
13  Quiet crown                       4:05
14  Winter is blue *                  2:52
15  Theme from "Robin Hood"           1:28
16  Disconnected                      4:33
17  The bronze medal                  3:37
18  Love steals us from loneliness    7:32
19  Self healer                       4:35
20  Too long awake                    3:04
21  American English                  0:33
                             [Total: 80:28]

(*) Vashti Bunyan cover
Franco Donatoni
01. Argot (first mvt)
02. Argot (second mvt)
Silvia Mandolini - Violino

Riccardo Massari Spiritini
03. Movimento Infinito
Saverio Tasca - Percussioni
Adriano Ambrosini - Pianoforte

Steve Reich
04 Six Marimbas
I Percussionisti di Verona

Luciano Berio
05. Sequenza 1
06. Sequenza 2
07. Sequenza 3
Ex Novo Ensemble:
Daniele Ruggeri - Flauto
Aldo Orvieto - Pianoforte
Carlo Teodoro - Violoncello

Recording/Mastering: F. Capaldi
Estratto dalle serate "Variazioni di Pressione"
Teatro Filarmonico
Verona - Sala Maffeiana
26 Sep 2005
03 Oct 2005 

Source: Sbd
Lineage: Sbd > ? > CDR
Notes: I received this in a trade some years back. The CD had 2 sec's gaps between the tracks, but these have been removed here.

01 Southside Shuffle
02 Gettin' Out
03 Musta Got Lost
05 Chimes
06 Looking For A Love
06 Serves You Right To Suffer
07 Whammer Jammer
08 (Ain't Nothin' But A) Houseparty
09 Detroit Breakdown
10 Give It To Me
11 Back To Get Ya
12 First I Look At The Purse

A Great recording, and personally I also find it interesting to compare it to the official "Live - Blow Your Face Out!" that was recorded about a year later. 
One Finger Snap
Spanish Ballad
Spanish Souza
Hand By Hand

JDJ - drums
Jerome Harris - guitar
Danilo Perez - piano
John Patitucci - bass
silver discs > EAC > WAV > FLAC

Disc 1 - First Set

1. Under The Falling Sky
2. World To Gain
3. Together Again
4. Mae Jean Goes To Hollywood
5. Last Time I Was Home
6. Jesus in 3/4 Time
7. My Opening Farewell
8. From Silverlake
9. Rock Me On The Water
10. Jamaica Say You Will

Disc 2 - Second Set

1. Together Again
2. Take It Underground
3. When You Lose Your Money
4. Our Lady Of The Well
5. These Days
6. Someday Morning
7. Shadow Dream Song
8. Song For Adam
9. Looking Into You

Jamie Janover - hammered dulcimer, percussion, effects
Michael Manring - bass
Alan Hertz - drums
Eric Levy - keys

XY Neumann KM-140 > Lunatec V2 > Benchmark AD2K+ @ 24/96
Resampled with Secret Rabbit Code 0.1.1, hp-tpdf dither

No setlist available

Sound: B
Show: B
Song of Space/Afric Pepperbird/Fountain of Tears
VIPS/Rainbow/At Det Var

Jan Garbarek - sax, flute
Terje Rypdal - guitars
Arild Andersen - bass
Jon Christensen - drums
six untitled pieces

with David Torn, Eberhard Weber, M. DiPasqua

Fixed version on LLD_493
SOURCE: SBD>Audio Tape>CD TRANSFER>trade>CD>EAC Secure Modus>Flac Frontend Level 6>Flac

Jan Garbarek: ss, ts
David Torn: electric-guitar
Eberhard Weber: bass
Mike DiPasqua: drums 

1. 13.10
2. 16.48 (fade out)
3. track 02 continues 02.22
4. 07.25
5. 06.02
6. Witchi-Tai-To 05.27

Jan Garbarek: ts, ss, fl
David Torn: electric guitar
Eberhard Weber: bass
Billy Hart: drums


1. 24.35
2. 17.40
3. 20.35
4. 11.52

1. 08.25
2. 05.24
3. 05.43
4. 02.39 (cuts)

1. ? (31:31)
2. ? (20:55)
3. ? (6:40)
Jan Garbarek - Reeds
Rainer Bruninghaus - Keyboards
Eberhard Weber - Bass
Marilyn Mazur - Percussion
As If The Sky Itself Were Too Low...

Jan Garbarek, saxophone
Marilyn Mazur, percussion
Eberhard Weber, bass
Rainer Brüninghaus, keyboard

Disc 1
01 - 21.47
02 - 26.29

Disc 2
01 - 23.31
02 - 22.12

Quality: A
Soundboard-?-CDr-Trade-EAC-Wav-Flac Frontend to Flac
Audience, 54min & 65min, 2CD.

This is the complete concert recorded from the audience using Sony D10 pro DAT recorder and Sony ECM959DT stereo mic. Jan presented with Nordic cool, while Rainer and Eberhard maintained their detached calm. Meanwhile Marilyn Mazur danced around her percussion set like a pixie in a field of spring flowers, tapping on hanging gongs, rolling across a row of drums, bending over to hit something near the floor - amazing dynamics and vivacity in her drumming. Its all here on the recording. We were slightly distant, so you hear a bit of the Arts Centre acoustic as well. 

I don't know Gabarek's music well enough to put together an authoritative setlist, so any assistance here appreciated. 

omplete Show 

Taper: bobandbruce

Lineage: okmstyle earmics – Sony MD NZ-NH700 –sonicstage - himdrenderer - Wav- nero audio editor – flac frontend – flac

Jan Garbarek, saxophones
Rainer Brüninghaus, keyboards
Juri Daniel, bass
Manu Katche´, percussion

Part 1:  The Tall Tear Trees/ Eventyr/ Paper Nut
Part 2:  Twelve Moons / Rondo Amoroso /solo Juri Daniel/ unknown
Part 3: There were Swallows/unknown /Solo Rainer Bruninghaus/ Once I Dreamt A Tree Upside Down
Part 4: Unknown/unknown /Solo MAnu KAtche/ New Bein

Voy Cantando

CD 1

Part 1
Part 2

CD 2

Part 3
Part 4


Part 5 (maybe Hasta siempre)


Eberhard Weber was replaced by Juri Daniel due to illness. 
I don't know any details of the titles on the setlist, so help me out,if you know more, it will be highly appreciated.

The Serenadenhof (Serenade Court) is inside of one of the ugliest buildings of Nürnberg from the darkest time of German history.
But it is the most beautiful location for open-air concerts I know.
Every concert including this one is a pearl!
Pre-FM Master>CDR>EAC>FLAC6(w/sector align)sbeok

Disc 1 
1] Spanish samba
2] Timeless
3] Viddene
4] Nimbus
5] Krusning

Disc 2 
1] Waterwheel
2] Backward Glance> Entering> Telegram
01) Keep Drawing Suns
02) Thumb On The Scale
03) You Should Be Changing Everything
04) Tremors
05) Far From Here
06) Toomsuba
07) The Waiting

[Athens 441]

Eric Berg - guitar, keyboards
Nick Bielli - bass
Heather McIntosh - cello
John Neff - pedal steel guitar
Brant Rackley - drums
Andy Baker - keyboards

Source: Neumann KM-184(DIN)> Lunatec V2> Graham-Patten ADC-20> Hosa ODL-276> Nomad Jukebox 3
Transfer: Nomad Jukebox 3> USB> Cool Edit Pro(DSP/SRC)> shntool> CDWave> FLAC Frontend

Recorded and transferred by Sloan Simpson
Source:sbd>744t dpa4011>v-2>744t (24/48)
Location:right side of sbd
Taped & Transfer by Steven Propp  nspwboogie@gmail.com

Disc 1
01. [08:14] Brand New Kind of Actress
02. [07:03] Decoration Day
03. [05:10] Chicago Promenade
04. [04:41] The Assassin
05. [07:08] Danko/Manuel
06. [05:16] Down In a Hole
07. [04:31] Grown
08. [06:58] Goddamn Lonely Love
09. [05:30] Psycho Killer
10. [05:47] Dress Blues

Disc 2
11. [05:14] Into the Mystic
12. [05:41] Outfit
13. [07:00] Try
14. [06:47] Jailbreak
SBD > XLR-1/8" mini > DAT(x) > CDR(x)

1. Settled Down Like Rain
2. Poor Little Fish
3. Think About It
4. Take Me With You (When You Go)
5. Big Star
6. Lost My Driving Wheel
7. Two Hearts
8. Blue
9. Dying On The Vine
10. Bottomless Cup
11. I'd Run Away
12. Trouble
13. Stick In The Mud
14. Haywire
15. The Man Who Loved Life

1. Waiting For The Sun
2. Ode To Billy Joe
3. It's Up To You
4. Nothing Left To Borrow
5. Seven Days
6. Reason To Believe
7. Sunny Side Of The Street*
8. Bad Time

*Note Dave Pirner guests (vocals)
sbd>?>cdr in trade>eac>wav>flac

Very nice soundboard recording from the first of two nights in Seattle. 

Disc One
Settled Down Like Rain
I'd Run Away
What Led Me To This Town
Waiting For The Sun
Dying On The Vine
Nothing Left To Borrow
Crowded In The Wings
I'm Gonna Make You Love Me
Bottomless Cup
Until You Came Along
Real Light

Disc Two
Five Cups Of Coffee
Queen Of The World
A Break In the Clouds
Somewhere In Ohio
All By Myself
Life's Little Ups And Downs
If I Only Had A Car
Sister Cry
Big Star
Baby, Baby, Baby

sbd>?>cdr in trade>eac>wav>flac

Very nice soundboard recording from the second of two nights in Seattle. 
Enough changes in the setlist to warrant posting both shows - and I'm too
lazy to create separate torrents. 

Disc One
I'm Gonna Make You Love Me
The Man Who Loved Life
Settled Down Like Rain
I'd Run Away
Ain't No End
Better Days
Real Light
Somewhere In Ohio
Lost My Driving Wheel
Two Hearts
You Don't Miss Your Water
Broken Harpoon
Queen Of The World
What Led Me To This Town
Waiting For The Sun

Disc Two
Sound Of Lies
Big Star
Life's Little Ups And Downs
All By Myself
Sister Cry
Bad Time
Baby, Baby, Baby


Tuang Guru
That's Retail
The Gourd
Listos Tres
Milestones in the Sunshine

Double Agent
Airmail Special
The Opera
Early Show

Black Market
Full House
The Opera
Stockholm Smokepipe

Late Show

The Phoenicians
The Milliken Way
The Collage (Monkey Butler with a Mullet)
Sabre Dance
The Gourd

Taped by Andy Hopkins
Schoeps CCML4 > Beyer MV100 > Tascam DA-P1 (mics on stage split 10 feet)

Set I
(disc 1)

Oh Yeah!

Set II
(disc 2)

Open Sesame
At The Pershing
Country Open

Set II
(disc 3)

Jungle Tango
The Gourd

e. Xenoblast
Full House
The Phoenicians
The Country Open
Jungle Tango
Stockholm Smokepipe

Open Sesame
New Song (Jamie's)
New Song (Greg's)
Mariachi Song
At the Pershing
The Milliken Way

Taped by Andy Hopkins
Taped by Andy Hopkins

Honeysuckle Rose
Dark Eyes
At The Pershing
The Milliken Way
The Country Open
E: Powderfinger
Five unidentified songs
Dark Eyes
Sabre Dance
source/transfer: (3 mic mix @ sbd) Nuemann TLM 103 + AKG C1000 (pair) > Digi002>G3 (ProTools) @ 24bit 

- Disc 1 - Set I -
01. Templars
02. Mariachi Song
03. Jughead
04. The Phoenicians	
05. Milestones > Bass solo > Milestones
06. Powderfinger

- Disc 2 - Set II -
01. Contois > Bass Solo > Contois
02. Straight Life
03. Xenoblast
04. New Song
05. Going to California > What Is and What Should Never Be
06. Oh Yeah

Jamie Masefield - mandolins, Jon Fishman - drums, Danton Boller - Upright Bass and Effects, Mad Dog - Trumpet and Keyboards 
Early Show

The Sun Will Come Out Tomorrow
Borkum Riff
Spicy Bombs
Cicada 17
Going To California >
What Is And What Should Never Be
Oh Yeah!

Source: FOB Neumann ak40 (DIN, 8', DFC) > lc3 > km100 (no XLR cable) > 
Sound Devices MP-2 > Oade Line Stage Mod SBM-1 > Sony TCD-D7 (@44.1)

Transfer: Sony TCD-D7 > 7-pin optical > Creative Nomad Jukebox 3 > FireWire > CDWav > FLAC

--No DAE--

Taped, transferred, and seeded by Paul Hofferkamp (gruven42ATyahooDOTcom)

Jamie Masefield - mandolins, Sean Dixon - drums, Scott Ritchie - upright bass, Maddog - trumpet and keys
(FOH/DFC) Neumann U89i (card, DIN)> Lunatec V2> Apogee Minime> 
Hosa ODL-312> Creative Labs NJB3.

Creative Labs NJB3> (firewire) Creative Play Center> Cool Edit Pro 2 
(fade in/out,hardlimit)> CD Wave (tracked)> Flac Fronted.

Recorded by Ed Guidry (tufflitestudios@yahoo.com)

Battle Hymn 
Straight Life 
Going to California/ What is and What Should Never be 

Borkum Riff 
Dickyville Grotto 
Cicada 17 

Avant intro> Sirduke> dance party> SirDuke 

Lineup: Jamie Masefield- mandolins, MadDog- trumpet, piano, keyboard, Scott Ritchie- Bass, Sean Dixon- Drums
(FM Rebroadcast, Quality A+) 

band (Hamburg):
Jean-Luc Ponty (violins)
Darryl Stuermer (guitar)
Tom Fowler (bass)
Mark Craney (drums)
Allan Zavod (keys)

Disc 1 
Hamburg Part 1 
1. Is Once Enough 9.29
2. Polyfolk Dance 8.10
3. Lost Forest 11.05
4. Aurora 18.30
5. Renaissance 8.31
6. Question with No Answers 5.05

Disc 2 
Hamburg Part 2
1. Passenger of the Dark* 10.08
2. Bowing-Bowing 9.14
3. Tarantula 3.14
4. Wandering on the Milky Way 6.26
5. Fight for Life 6.05

(*) Different, older, inferior source 
  (perhaps not rebroadcasted and put in place)


EAC (secure mode) > FLAC 1.17 VERIFY/ALIGN
2-Cosmic Messenger
4-Enigmatic Ocean
5-Band Intro
6-Ethereal Mood
7-No Strings Attached
8-Egocentric Molecules
9-New Country
1. Overture/Trans-Love Express
2. Cosmic Messenger
3. Infinite Pursuit
4. Perpetual Rondo
5. Elephants In Love
6. Cats Tales
7. The Struggle of the Turtle to the Sea(Cuts)
8. ?
9. Nostalgic Lady
10.Plastic Idols
11. Don't Let the World Pass You By
12. Open Mind

Jean-Luc Ponty - Electric Violin
Frank Gambale - Guitar
Kai Akagi - Keys 
Baron Browne - Bass 
Rayford Griffin - Drums

Source:  Stereo Soundboard 
Quality: Excellent (A/A+)
Lineage: SBD > ?? > CDr > EAC (Secure/offset corrected) > .WAV > FLAC (L5/Sector boundaries Aligned)
Taper: Unknown 
Source: Soundboard
Transfer: CD-R from trade > EAC > FLAC Level 8 > you 

Disc 1
1 The Legend 
2 Bells 
3 Je Me Souviens 
4 Dream 1: The Rock 
5 Miss Moon 
6 Oxygene 2 
7 Dream 2: The House 
8 Chronologie 6 
9 Dream 3: The Tree 
10 Equinoxe 7 
11 Magnetic Fields 2 
12 Dream 4: The Boat 
13 Millions of Stars 
14 Dream 5: The Flesh 
15 Souvenir of China 
16 Oxygene 10 
17 Dream 6: The Voice
18 intro > 
19 Umm Kulthum Tribute 
20 Dream 7: The Sky 
21 Hey Gagarin 
 (#Dream 8: The Child wasn't played) 

Disc 2
1-2 Gloria/Intro to the year 2000 
3 Millennium Countdown 
4 C'est La Vie 
5 Salma Ya Salama 
6 Dream 9: The Bell 
7 Equinoxe 4 
8 Dream 10: The Snow 
9 Oxygene 4 
10 Tout est Bleu 
11 Dream 11: The Blood 
12 Evolutions
13 Oxygene 12 
14 Dream 12: The Gate 
15 Give Me A Sign 
16 Oxygene 8 
17 Band in the Rain  
18 Rendez-vous 2

Excellent recording from JMJ's famous millennium concert in Egypt with approx 115,000 spectators present.  Since I got this in a trade I dont have any info about lineage, taping equipment etc. 
On Saturday 10th September 2005, Jean Michel Jarre performed a 35 Minutes Mini-Concert at the LinX Live Show,
an Exclusive Multi-Artist Event for the Official Opening of the Eurocam Media Centre,
containing Belgian HDTV Company Euro1080's NEW HDTV Studios, in Lint, Belgium, to an audience of 1000 Invited Guests,
including Belgian Prime Minister, Guy Verhofstadt, the European Commissioner for Media & New Technologies,
Viviane Reding, and the Mayor of Lint, Nicole Muyshondt.

Belgian Rock Group Novastar & Percussion Artist MeloRitmo performed at the LinX Live Show,
before Jean Michel Jarre performed his 6 Tracks, all presented in Dolby Digital 5.1 Surround Sound,
accompanied on stage by Francis Rimbert & Claude Samard, assisted by the Symphonique Factory Orchestra and Choir.
Jean Michel Jarre's Tracklisting was as follows:-

[01] AERO
[02] OXYGENE 2 (With Electronic Flute Introduction) 
[04] EQUINOXE 4 
[05] OXYGENE 12 (With Circle Of Life Video)
[06] RENDEZ-VOUS 2 (With Jean Michel Jarre on Laser Harp) 

The LinX Live Event was broadcast 'Live' from 21:15-23:00 (9:15-11:00pm) (Local Time) on Euro1080's High-DefinitionTV
Channel HD1 (www.hd-1.tv).
For the first (and probably last) time ever, Jeff Beck re-visited his entire back catalogue (all the way back to the yardbirds era) on stage with some very special guests:

Main band
JEFF BECK - Guitar
TONY HYMAS - Keyboards

JH = JIMMY HALL - Vocals

Disc 1
01. Beck's bolero
02. Roy's toy
03. Rice pudding
04. Angel (Footsteps)
05. Goodbye pork pie hat
06. Blue wind
07. I'm a man (JH)
08. Ain't superstitious (JH)
09. Morning dew (JH)
10. Behind the veil (TB)
11. Savoy (TB)
12. Sling shot (TB)
13. Big block (TB)
14. Freeway jam (TB)
15. Still I'm sad
16. Train kept a rollin' (WS)
17. Ain't done wrong (WS)
18. Heart full of soul (WS)
19. You're a better man than I (WS)
20. Lost woman (WS)
21. Evil hearted you (WS)
22. I ain't got you (WS)

Disc 2
01. The pump
02. Brush with the blues
03. Star cycle
04. Rollin' and tumblin' (AD IH TB)
05. Django (JM)
06. Scatterbrain (JM)
07. Nadia (AD)
08. What Mama said
09. Goin' down (PR TB)
10. People get ready (JH TB)
11. A day in the life (TB)
12. Where were you
13. Hi ho silver lining (JH TB WS IH PR)

Source: Mini disc recorder>WAV>CDR>WAV>FLAC (aud, A-)
Source: Digital Soundboard DAT Unknown Taper
Transfer: Panasonic SV-3700 > Audiophile 2496 > WaveLab >
CD Wave > EAC > Flac 

Disc 1		56:19

1.	Intro
2.	Monkey Bay
3.	Our Time
4.	Big  Sciota
5.	Banter
6.	Hymn Of Ordinary Motion
7.	The Travels Of Mr. Hulot
8.	Why Don’t You Go Back To The Woods
9.	From Ankara To Izmir
10.	Early Morning
11.	Through The Gates
12.	Edgar Solo
13.	The Earl Of Hienford > Open The Present

Disc 2		41:29

1.	Pushed Too Far
2.	Open Arms
3.	A New Day Medley (Jerry Solo)
4.	Green Slime
5.	Big Bug Shuffle
6.	A Touch Of Hidalgo
7.	Emphysema Two-Step
8.	Crowd
9.	Encore: Here On Earth

Notes: Very Clean Soundboard. Discs are seamless. Trio opened for Aquarian Rescue Unit

Taper:  Unknown 
Transfer:  Adam Hudson
Email:  adhud8572@adelphia.net

SBD DAT > TASCAM DA-20 MKII > Tascam CD-RW5000 > CDR
Extracted Sony Sound Forge 7.0 > CDWAV > Flac > To You 

Jack A Row
Spring in California
Grateful Dawg
Angels Layed Him Away
Off To Sea
Friend of The Devil
Two Soldiers
So What

Russian Lullaby
Dawg Waltz
Thrill Is Gone
Old Rockin’ Chair
Arabia (A)
Arabia (B)
Eat My Dust W/ Bela Fleck
Ripple W/ Bela Fleck

My Sunday Feeling
My God
To Cry You a Song
With You There to Help Me/By Kind Permission Of . . .
Sossity; You're a Woman Now/Reasons for Waiting
Nothing Is Easy
Dharma for One
We Used to Know/For a Thousand Mothers

There seems to be some debate about the date of this show.
I've seen it listed as July 15, 16, or 17
Even the good folk at The Ministry of Information don't know for sure.

CD 1
01 Thick As a Brick (Pt. 1) (fades in during opening acoustic guitar)
This I broke into 13 tracks

02 The News and Weather

CD 2
03 Thick As A Brick (Pt. 2)
02 Geared Toward the Average
03 Let Me Help You To Pick Up Your Dead
04 Thick as a Brick (conclusion)
05 Cross-Eyed Mary
06 A New Day Yesterday
07 Aqualung

CD 3
01 Wind Up	6:20	
02 Guitar Interlude	1:34
03 Organ / Guitar Interlude	1:56
04 Guitar / Organ Interlude	1:12
05 Guitar Solo	5:53
06 Locomotive Breath	6:03
07 Hard Headed English General	2:57
08 Wind Up (conclusion)	2:23

TOTAL TIME about 28 minutes

very good

I got this in a tape trade many years ago.
Mine is allegedly a 2nd generation tape.
I've heard the "Complete Performance 1972" and to my ears, this sounds better.

audience tape > tape (unknown # of generations - allegedly 2) > CD-r > FLAC 8 via xAct

I have, or have heard, more than a dozen "Brick" shows.
This is unquestionably my favorite with the best mix of fidelity and performance,
though the Wolverhampton (3-19-72) is another great one to get.

This show has been around for years. 
It has been circulated on CD as "Complete Performance 1972" and "Thick as a Stage" (and about a half dozen other titles).

The "Complete Performance 1972" CD has an "Only Solitaire" intro that is missing from this tape. I'm guessing that the "Thick as a Stage" and this recording share the same source.

For more info on those two boots:

This is allegedly from a 2nd generation tape.
It does sound quite nice, but
Don't bet the farm on it.



Mike Nelson, world famous Sea Hunter and cinema star, known for his aquatic skills, feats of derring do, and street smarts (not to mention giving his young sons their first taste of celluloid stardom) was enjoying himself at a recent ÒrockÓ concert presented by five British boys who call themselves Jethro Tull (?), when he was paged from the stage by the lead singer. Amidst a full tilt sonic explosion of flute, guitar, bass, drums and organ, the band stopped dead in their tracks to ask if Mr. Mike Nelson was in the audience. A telephone call of the most urgent nature had been forwarded to the Òstage phoneÓ and the singer was kind enough to interrupt the performance to inform the star of the call.  Apparently their was a fish on the line. Unconfirmed reports state that it was, specifically, a Dover sole. Mr. Nelson was reportedly  very grateful. 



A concert by the Blackpool Flute and Cello ensemble was held at Koseinenkin-Kaikan, Tokyo Japan in July 1972. A sensitive and, dare one say, passionate, performance was rendered by the five musicians, but was spoilt at times by an exceedingly restless and shifyt audience. The music also included two sections of The Tycho Asavrick Suite in F Major by Delirius D. Myart  and a contemporary piece by the one-legged Russian performer, Izabetyer Lovinthisky. 
                                      - Y.Z.Y.
Label STE 027 - A/B


1.  Passion Play
2. Thick as a Brick
3 Wind Up


1. Cross Eyed Mary
2. No Rehearse I
3. No Rehearse II
4. Aqualung
5. Medley (Bouree/Living in the Past/Pop Goes the Weasel/Sea Lion)
6. My God
7. Skating Away
8. Wondring aloud
9. War Child
10. Bungle in the Jungle

Silver CD - dbpowerconverter - FLAC.  No other information regarding lineage

First 6 tracks July 20-23rd 1973
Last 6 tracks February 10 1975
Jethro Tull Live at the Oakland Coliseum 1973-07-xx Master reel-to-reel AUD Full "Passion Play", complete show

Tull's episodic career has had many swings since "This Was" premiered so many years ago. Like all great artists, the perception of his work has differed from when it was produced to the current day. "Thick As A Brick" received mixed reviews when it first premiered, but has endured to this day as my personal favorite album.

You would have to say that Tull's impression as to what a concept album is differed greatly from what was acceptable then, to what is acceptable now. Ian Anderson and co. were very far ahead of their time, both in production value and their understanding of British theatre.

I absolutely hated "The Passion Play" when it came out. It was unfriendly to listen to, morose, and did not stand up to repeated playing. The uproar over it at the time was so intense that (my memory fades here, please correct me if I don't have it right)I remember Ian absolutely screaming at the press and threatening not to work again!

Yes, parts of it *are* morose, particularly the beginning, but "Thick As A Brick" had some morose bits in it also. Not as many, though. And yes, it's a much darker album overall. But, it is brilliant and more cohesive overall.

But, now it's 2006. My Spiro Agnew watch doesn't work anymore, and my 1964 World's Fair metal flip calendar is starting to look like an antique. And when I look in the mirror... let's not talk about that!

So, I think it's time for "The Passion Play" to be revisited. Not on the LP where it came out, but on this great live show. It's an 800lb gorilla by the way, this show is. You get sucked into it regardless, awestruck, unable to move. For two hours and twelve minutes all you can do, to paraphrase Frank Zappa is to lie there listlessly, with your tongue hanging from side to side.

This show progresses from *SEE-REE-US* to absurd theatre, to rock and roll. I don't think Tull performs this way anymore. 

The Passion Play
Thick As A Brick Middle Section
Cross-Eyed Mary
Unknown Song (please help out!)
Drum Solo
Maternity Ward (is that correct?)
Applause and Crowd Noise
Band Intros

Wind Up
Locomotive Breath
Wind Up Reprise


A DoinkerTape
This is the first show from the Songs From The Wood tour.

Ian Anderson plays flute, guitar, and sings
Martin Barre - guitars, marimba
John Evan - keyboards, drums
Barrie Barlow - percussion
David Palmer - keyboards, sax
John Glascock - bass

01  Skating Away	4.05
02  Jack-In-The-Green	4.04
03  Crazed Institution	4.16
04  Fire At Midnight	3.11
05  Conundrum-ish	3.18
06  Thick as A Brick	14.13
07  Songs From the Wood	5.23
08  To Cry You A Song	2.45
09  A New Day Yesterday	10.04
10  Living In The Past	2.58

01 Velvet Green	8.21
02 Too Old To Rock n Roll 7.59
03 Bungle In The Jungle	2.15
04 Beethoven's 9th Symph 3.27
05 Minstrel In The Gallery 7.41
06 A Hunting Girl	5.17
07 Cross-Eyed Mary	3.56
08 Aqualung	8.24
09 Guitar Solo	3.11
10 Wind Up	4.59
11 Back Door Angels	5.04
12 Wind Up (conclusion)	1.59
13 Locomotive Breath	5.26
14 Grand Finale/Back Door Angels 3.27

Audience recording
Quite nice actually.
Sounds like a low gen source

audience tape > ??? > CD-r > FLAC 8 via xAct

This recording captures Jethro Tull at an interesting point in their history. During 1974-1975 Tull toured the globe presenting WarChild, complete with string quartet and Ian on sax (for the last time). They played a total of 139 concerts. 1976 brought us Too Old to Rock ÔnÕ Roll, Too Young to Die, and a mere 38 live shows. They played only a handful of songs from that release during the 12-date European tour. By the time they reached the USA two months later they had dropped all but two songs from the album they were allegedly promoting. 

After the tour ended in August the band took a well deserved break, Ian to the serenity of the English countryside, the others to their own pursuits. During their five months ÒholidayÓ that preceded the concert presented here Tull wrote and recorded Songs From The Wood, a work that many consider to be one of the two quintessential Jethro Tull albums (the other being Aqualung). 

Bassist Jeffrey Hammond left the band at the end of the 1976 tour. He was replaced by John Glascock from Carmen, TullÕs support act in 1975. Additionally, keyboardist, sax player, and arranger David Palmer became a full-fledged performing member, opening up many sonic possibilities and bringing to the live stage a rocked-up version of the 2nd & 4th movements of BeethovenÕs Ninth Symphony.

Five numbers received their live debut here. Jack-in-the-Green, Fire at Midnight, Songs From the Wood, Velvet Green and, A Hunting Girl, though fantastic on the already-recorded and soon-to-be released album, are here, a bit rough. ItÕs quite fascinating to hear the now-classic songs played rather tentatively. The band is still working out arrangements for their live performance. Listen to Bursting Out. Hear what a difference a year on the road can make.

 Enjoy this delightful evening of music, honest and real, presented to you as it happened, warts and all (MartinÕs Aqualung solo - ouch!),
with no overdubs or studio sweetenings.


I saw the band two months after this gig in Louisville and, after the 2 WarChild shows I saw in '75 (March 9 and October 1), this was without a doubt my favorite Tull tour. I've seen them about 20 times over the years. I remember waiting for Martin to hit a single chord in Thick As A Brick   (about 3 minutes in just slightly behind the beat just before "See there, a son is born...") and when he did it felt like someone had hit me in the chest. It was that loud. And in a basketball arena, that's loud

John Glascock and Barrie just worked so well together. 
Glascock, I think, really fired up the rest of the band too.
David Palmer brought a "silly seriousness" to the shows that is hard to describe.

This is a very nice show. Not their best show musically speaking, but here you see (hear) them in a more 'human' light.
This is the first show from the ÒSongs From The WoodÓ tour.

Ian Anderson - flute, guitar, and sings
Martin Barre - guitars, marimba
John Evan - keyboards, drums
Barrie Barlow - percussion
David Palmer - keyboards, sax
John Glascock - bass

01  Skating Away	4.05
02  Jack-In-The-Green	4.04
03  Crazed Institution	4.16
04  Fire At Midnight	3.11
05  Conundrum-ish	3.18
06  Thick as A Brick	14.13
07  Songs From the Wood	5.23
08  To Cry You A Song	2.45
09  A New Day Yesterday	10.04
10  Living In The Past	2.58

01 Velvet Green	8.21
02 Too Old To Rock ÔnÕ Roll 7.59
03 Bungle In The Jungle	2.15
04 BeethovenÕs 9th Symph 3.27
05 Minstrel In The Gallery 7.41
06 A Hunting Girl	5.17
07 Cross-Eyed Mary	3.56
08 Aqualung	8.24
09 Guitar Solo	3.11
10 Wind Up	4.59
11 Back Door Angels	5.04
12 Wind Up (conclusion)	1.59
13 Locomotive Breath	5.26
14 Grand Finale/Back Door Angels 3.27

Audience recording
Quite nice actually, but a little hissy


audience tape > ??? > CD-r to me > FLAC 8 via xAct

This recording captures Jethro Tull at an interesting point in their history. During 1974-1975 Tull toured the globe presenting WarChild, complete with string quartet and Ian on sax (for the last time). They played a total of 139 concerts. 1976 brought us Too Old to Rock ÔnÕ Roll, Too Young to Die, and a mere 38 live shows. They played only a handful of songs from that release during the 12-date European tour. By the time they reached the USA two months later they had dropped all but two songs from the album they were allegedly promoting. 

After the tour ended in August the band took a well deserved break, Ian to the serenity of the English countryside, the others to their own pursuits. During their five months ÒholidayÓ that preceded the concert presented here Tull wrote and recorded Songs From The Wood, a work that many consider to be one of the two quintessential Jethro Tull albums (the other being Aqualung). 

Bassist Jeffrey Hammond left the band at the end of the 1976 tour. He was replaced by John Glascock from Carmen, TullÕs support act in 1975. Additionally, keyboardist, sax player, and arranger David Palmer became a full-fledged performing member, opening up many sonic possibilities and bringing to the live stage a rocked-up version of the 2nd & 4th movements of BeethovenÕs Ninth Symphony.

Five numbers received their live debut here. Jack-in-the-Green, Fire at Midnight, Songs From the Wood, Velvet Green and, A Hunting Girl, though fantastic on the already-recorded and soon-to-be released album, are here, a bit rough. ItÕs quite fascinating to hear the now-classic songs played rather tentatively. The band is still working out arrangements for their live performance. Listen to Bursting Out. Hear what a difference a year on the road can make.

Enjoy this delightful evening of music, honest and real, presented to you as it happened, warts and all (MartinÕs Aqualung solo - ouch!),
with no overdubs or studio sweetenings.

I made this a while back and thought I'd upload it.
The front picture was taken by a friend at the Lexington, KY gig on Nov. 24, 1977.
His camera was malfunctioning and this photo is actually an unintentional  double exposure.
If you look closely you can see Ian's hand holding the balloon below the letter "U". As Brian Eno and Peter Schmidt would say, "honor thy error as a hidden intention." Kinda nice the way that worked out.
And yes, the words "it's for you" WERE on the balloon. 
They were NOT added later.

The back is a bunch of pics from the Louisville gig on March 16, 1977 that another friend took. The stage was set up to have a wing, or was it two, that stuck out into the audience. That's why you can see people in front and in back of Ian. If you look closely at the picture of Ian on the back you will see the shadow of a policeman in front of him. Looks like a state trooper's hat to me. 

Sorry about the water stain on the spine.

The programs I use to make cd art don't allow me to save as JPEGs so I scanned these in at 240 dpi. Hope it works for you.

I saw the band two months after this gig in Louisville and, after the 2 WarChild shows I saw in '75 (March 9 and October 1), this was without a doubt my favorite Tull tour. I've seen them about 20 times over the years. I remember waiting for Martin to hit a single chord in Thick As A Brick   (about 3 minutes in just slightly behind the beat just before "See there, a son is born...") and when he did it felt like someone had hit me in the chest with a sledgehammer. It was that loud. And in a basketball arena, that's loud. Gawd, I love rock and roll. I know that I'm gonna regret it when I'm old(er) - just like Pete Townshend - but I love it when I'm standing near the wall of speakers and every time the bass drum kicks in  and my hair gets blown by that moving air. (that's one reason I don't like iPods, not enough air is moving)

John Glascock and Barrie just worked so well together. 
Glascock, I think, really fired up the rest of the band too.
David Palmer brought a "silly seriousness" to the shows that is hard to describe.

This is a very nice show. Not their best show musically speaking, but here you see (hear) them in a more 'human' light.


01. Intro/Dark Ages 
02. Home 
03. Orion 
04. Dun Ringill 
05. Elegy 
06. Old Ghosts
07. Something's On The Move
08. Aqualung 
09. Peggy's Pub 
10. Jack-In-The-Green 
11. King Henry's Madrigal
12. Heavy Horses, 

Disc 2
01. Flute Solo/Bourée,Soirée 
    God Rest Ye Merry Gentlemen,Kelpie, 
02. Songs From The Wood 
03. Hunting Girl 
04. Jams O'Donnell's Jigs 
05. Thick As A Brick 
06. Too Old To Rock'N'Roll
07. Cross-Eyed Mary 
08. Guitar Solo
09. Minstrel In The Gallery
10. Locomotive Breath
11. Dambusters March 
Also on LLD)_151 with slightly different track divisions and bonus interview from Stern show, under the title "Watchers on the Storm"

01 Fallen On Hard Times
02 Pussy Willow
03 Heavy Horses
04 Jack-In-The-Green
05 Instrumental
06 Sweet Dream
07 Aqualung
08 Locomotive Breath
09 Black Sunday
10 Cheerio

A friend of mine recently gave me a cassette. On side A there was totally different stuff, but side B contained this show. I know that this show was broadcast (in an edited version) on the german tv and on the german radio. All I had to do was recording it and put it on flac. The lineage is like this (sorry, not much information).

Total Time: 40:42

Lineage: FM>??>Cassette>Audacity (recording, tracking)>wav>flac
1-1. Under Wraps (Intro) 2:18
1-2. Locomotive Breath (Inst. Intro) 1:43
1-3. Hunting Girl 5:48
1-4. Under Wraps 4:55
1-5. Later That Same Evening 4:48
1-6. Nobody's Car 4:23
1-7. Fly By Night 4:13
1-8. Thick As A Brick (Medley) 8:37
1-9. Skating Away On The Thin Ice Of A New Day 2:06
1-10. Clasp 4:09
1-11. Living In The Past (W/Instrumental Variation) 3:35
1-12. Serenade To A Cuckoo 4:54
2-1. Band Introductions 2:13
2-2. Fat Man (W/Extended Instrumental) 6:35
2-3. Instrumental With Drum Solo 9:12
2-4. Black Sunday 6:42 
2-5. Songs From The Wood 1:57
2-6. Minstrel In The Gallery 1:48
2-7. My Sunday Feeling 2:59
2-8. Aqualung 7:32
2-9. Locomotive Breath 8:23
2-10. To Old To Rock And Roll : To Young To Die 5:38
2-11. Thick As A Brick (Reprise) 3:22
Songs from the Wood
Thick as a Brick/Steel Monkey
Farm on the Freeway/Heavy Horses
Living in the Past/Serenade to a Cuckoo
Hunting Girl

The Waking Edge/Wond'ring Aloud
Skating Away
Jump Start
Too Old to Rock and Roll, Too Young to Die
Locomotive Breath/Thick as a Brick (reprise)
radio announcement
The Wind Up/Bach Violin Concerto in E, 3rd mvt.

1-1. Minstrel In The Gallery/
       Cross Eyed Mary 4:21
1-2. Kissing Willie 3:25
1-3. Welcome & Interlude of Trouble 3:34
1-4. Rocks On The Road 6:29
1-5. This Is Not Love 4:20
1-6. Serenade To A Cuckoo 4:57
1-7. Heavy Horses  8:19
1-8. Like A Tall Thin Girl 3:57
1-9. The Whistler (Instrumental) 3:43
1-10 White Innocence 8:28
1-11 Living In The Past 3:49
1-12 Doctor To My Disease 4:49
2-1. My God (Flute Solo) 8:46
2-2. Paparazzi (Instrumental) 3:37
2-3. Thick As A Brick 7:11
2-4. A New Day Yesterday 
2-5. Look Into The Sun (Instrumental) 4:11
2-6 Farm On The Freeway 6:39
2-7 Jump Start 7:31
2-8 Aqualung 8:00
2-9 Band Intro & Thank You 1:55
2-10 Locomotive Breath 5:19
2-11 Instrumental Medley 2:09
2-12 Thick As A Brick (Ending) 0:52

Jethro Tull

Ian Anderson- Vocals-Flute-Mandolin-Acoustic Guitar- Harmonica
Martin Barre- Electric & Acoustic Guitars
Dave Pegg - Bass Guitar
Martin Allcock- Keyboards
Daone Perry- Drums & Percussion

"Italian Catfish" 
Since the band first came onto the rock scene in the late sixties, Jethro Tull has been through 
more line-up changes than just about any other group in history, save for King Crimson perhaps. 
And just as Robert Fripp has carried the torch of KC from the very start, Ian Anderson has been 
and remains to this day, the true spirit behind Jethro Tull. Anderson and his best friend and 
alter ego, Martin Barre (at Ian’s side since Tull’s 2nd album) have led Jethro Tull through three
 decades of musical changes. Musical styles and commercial interests may have come and gone very
 quickly during the last 30 years, but the music of Jethro Tull has survived it all by staying 
true to its roots. The band’s most unique blend of rock and roll, baroque, folk and progressive 
styles has given Jethro Tull one of the most easily recognizable sounds in the music business.             
        From milestone albums such as “Stand Up”, “Auqalung”and “Thick as a Brick” to more 
underrated works like “Songs from the Wood”, “The Broadsword and the Beast” and “Crest of a 
Knave”, Jethro Tull has always stayed true to itself and has always offered a quality product 
to an ever growing army of fans around the world. The show presented here was performed at the 
Palatrussardi in Milano, Italy. It is now called the Mazda Palace but had the former name back 
in 1991. The Palatrussardi was built in the mid-1980's, replacing another famous venue, Teatro 
Tenda Lampugnano, and normally hosts artists for audiences of 3000 to 6000 people. Jethro Tull 
had played there in 1989 promoting “Rock Island” and now returned with the new album “Catfish 
        The new album was met with mixed reviews. Andy Stout of Rock Power wrote the following 
just before this concert, "This is Tull in headless chicken mode, the occasional embryonic good 
idea sacrificed to the gods of market forces…” The Tull press considered this to be the worst 
album review in the history of the band. One month later supporters such as Chris Welch wrote, 
“Undoubtedly the most convincing and satisfying work they have produced in years. Here are songs
 rich in the Tull essentials -quick humor, melodic sophistication and diverse influences”. From 
one extreme to the other to say the least.            
        Nevertheless, showing that they were not overly concerned with criticism, Jethro Tull 
continued their tradition of playing both old and new songs during shows, much to the delight of
 their fans. From one who was there that night: “I had a place in the area reserved for the press
. It is situated right in front of the stage, behind the mixing board.... The audience, I would 
estimate at 4-5000 people, seemed to be enthusiastic and I hope this feeling is well captured in 
the recording. I found the tracks from “Crest of the Knave” really good, especially ‘Farm on the
 Freeway’ but most of us were disappointed that ‘Budapest’ was dropped from the set list. I 
remember that I particularly enjoyed ‘Kissing Willie’ and ‘Doctor To My Disease’. The old 
classics were present too, although the choices were not very different from the previous tour. 
In any case, a pretty good show indeed. It will give you a good idea of the Tull sound in 1991.” 
Ian Anderson would probably hate to have any kind of label printed to the music of Jethro Tull, 
but when a band can successfully blend so many influences in such perfect musical harmony, what 
else can you call them but ‘progressive’. Enjoy the show.!

Notes from the Re-Master

This show came to us as a CD version of the original digital mini-discs used to record the event.
 The equipment used that night was a Sony DAT with external Aiwa microphones. Three discs were 
used to capture the show so 3 tracks were provided; Two on one disc and one on the other. As a 
result, tracking each song separately needed to be done. Fortunately, changes in recorder disc 
were made during audience applause so the complete show exists here.            
        The quality is outstanding. Modern equipment and a quiet section of the audience led to 
good acoustics and very good clarity of the music. Music signal was present all the way up to 
16,000 Hz.  The left channel was about 15% lower than the right and lacked sufficient bass. 
Boosting the bass and amplifying corrected this problem. Hiss was light to moderate so it was 
reduced throughout. Audience applause was quite loud in some segments and was therefore reduced 
as well. One 90 second section during disc 2 had very harsh crackle. This was smoothed multiple 
times to minimize it without causing any damage to the music itself.             
        Shortly after the beginning of the show, the band has some technical problems which last
 over three and a half minutes. We decided to keep this segment to maintain completeness of the 
show but tracked it separately so it can easily be skipped by the listener. At the end of the 
show there is a 90 second applause and band introduction section that is also tracked separately 
for similar reasons.
Intro (not included)
Minstrel In The Gallery
Cross-eyed Mary
Kissing Willie
Rocks On The Road
This Is Not Love
Serenade To A Cuckoo
Like A Tall Thin Girl
The Whistler (instrumental)
White Innocence
Sleeping With The Dog
Living In The Past
Paparazzi (instrumental)
Doctor To My Disease
Thick As A Brick
A New Day Yesterday (including Bourée and Soirée)

CD: Manic Monster Music MMM 004

QUALITY: Excellent.

TOTAL TIME: 75:47 min.

"Intro" is a taped version of Carl Orff's "Carmina Burana". 

Notes taken from http://www.collecting-tull.com/Bootlegs/Original/WhalefishRising.html

Silver CD - EAC - dbpower converter - FLAC

mp3 segment attached to allow assessment of quality

01 Roots to Branches
02 Rare and Precious Chain
 / Out of the Noise
03 In The Grip of Stronger Stuff
04 At Last Forever
05 Beside Myself
06 We Used to Know
07 Inside the Moneylender's Temple
08 Wounded Old and Treacherous
09 Locomotive Breath

Whoever tracked this cd missed the song change between Rare and Precious Chain and Out of the Noise, so both are in track 2.
Where there should be 10 tracks, there are nine.


Excellent quailty

I always thought that the album Roots to Branches was truly one of Tull's best. The best thing they had released since Stormwatch or Songs From the Wood. Too bad it didn't sell more copies. Ian has penned some really great compositions here. Tull's world travels really show up here with lots of non-western musics jabbing through the rock and roll. Lots of different timbres, and the band sounds like a real ban, not just a couple of guys backing Ian and Martin. Martin totally rocks on RTB (and here). Some of his best work ever.

This FM broadcast showcases their new album, and it's smokin'! 
Remember when Tull played most, if not all, of their current release?
They haven't done that in 12 years, since 1995 when this was performed.
I guess that's what happens as a band ages and it's audience only wants to hear the hits and the songs they know.

They haven't sounded this alive and spunky in a long time.

Can you tell that I like this one? :-)


Ian Anderson - acoustic guitar, flute, soprano sax, vocals
Martin Barre - electric guitar, 
Jonathan Noyce - bass and voice
Andy Giddings - various keyboards
Doane Perry - drums, percussion


FM > digitally recorded silver "Velvet Flute" > FLAC via xAct > to you on DIME
02 For a Thousand Mothers
03 Nothing Is Easy
04 Thick As A Brick
05 Hunt by Numbers
06 Beside Myself
07 The Habanera Reel
08 Bouree
09 The Water Carrier
10 With You There to Help Me
11 “Bits And Pieces” - (Barre / Giddings Duet)

01 .com
03 In the Grip of Stronger Stuff
04 Dharma For One
06 Hunting Girl
07 A Passion Jig
08 Locomotive Breath
09 Aqualung
10 Cross-Eyed Mary
11 Cheerio

AUD > Sonic Mics > Sony DAT TDC-D8 @44 > RMR D100 > WAV > CDWav > FLAC FrontEnd 

LOCATION: (Front Row Centre)
Section- Front Orchestra / Row- A / Seat- 13
Excellent Sound - A+
most likely an excellent audience, but some insist soundboard

Martin Barre & Willy Porter opening act 
Disc 1
Martin Barre, Willy Porter, and Friends

 1 - Empty Cafe (Martin Barre & Willy Porter)
 2 - As Told By ( Barre, Porter, & Jon Noyce)
 3 - Spanish Tears (Barre, Porter, Noyce & Doane Perry)
 4 - Winter Snowscape (Barre, Porter, Noyce, Perry & Ian Anderson)
 5 - Big Yellow Pine (Barre, Porter, Noyce, Perry & Ian Anderson)
 6 - Unconditional (WIlly Porter)
 7 - The Potion (Barre, Porter, Noyce & Doane Perry)
 8 - DIY (Barre, Porter, Noyce & Doane Perry)

Jethro Tull

 9  - Intro
 10 - Living In The Past
 11 - Nothing Is Easy
 12 - Beggars Farm
 13 - Eurology
 14 - A Christmas Song
 15 - Farm On The Freeway
 16 - Pavane

 Disc 2

 1 - Weathercock
 2 - A Week Of Moments
 3 - Mother Goose
 4 - Misere
 5 - Songs from The Wood/Too Old to Rock and Roll/Heavy Horses
 6 - God Rest Ye Merry Gentelmen
 7 - Flying Dutchman/My God
 8 - Holly Herald
 9 - Aqualung
 10- Wind Up
 11- Locomotive Breath
 12- Protect and Survive
 13- Cheerio

A Swissbird, SimplexSimplicissimus & superMAX release

Soundboard > DAT > wave > flac frontend 
(align on sector boundaries Level 8)

Size : 591

(incl. Artwork)

Setlist :

Disc 1 :

01. Announcement (0:52)
02. Aqua Intro (0:21)
03. For A Thousand Mothers (4:49)
04. Nothing Is Easy (5:39)
05. Jack In The Green (3:08)
06. Serenade To A Cuckoo (3:56)
07. Beggars Farm (5:55)
08. Boris Dancing (3:56)
09. Weathercock (4:54)
10. We Five Kings (3:49)
11. Up To Me (4:07)
12. Boureè (6:15)
13. Mother Goose (6:39)
14. Empty Cafe (2:23)

Disc 2 :

01. Farm On The Freeway (7:07)
02. Hymn 43 (4:20)
03. A New Day Yesterday (6:09)
04. Budapest (11:25)
05. Aqualung (10:33)

Encore :

06. Locomotive Breath (5:40)
07. Protect And Survive (1:03)
08. Cheerio (2:00)

Ian Anderson / vocals , flute , guitar
Martin Barre / guitars , mandolin
Doane Perry / drums , percussion
Andrew Giddings / keyboards , accordion
Jonathan Noyce / bass
with special Guest Lucia Micarelli

Disc One   (1:01:56)

101 Life Is A Long Song
102 Skating Away...
103 Living In The Past
104 Slipstream
105 Up To Me
106 Griminelli's Lament¹
107 Sibelius Violine Concerto-Aurora³
108 Wond'ring Aloud¹ 
109 'Moz Art' Medley¹ 
110 Cheap Day Return/Mother Goose¹
111 She Is Like The Swallow²
112 Bourée¹ 

Disc Two   (1:07:17)

201 Nocturne/Bohemian Rhapsody²
202 Kashmir²
203 Cross-Eyed Mary
204 Hymn 43
205 Morris Minus
206 My God
207 Budapest¹
208 Aqualung
209 Wind-Up
210 Locomotive Breath¹
211 Protect And Survive¹
212 Cheerio

¹: Tull, accompanied by Lucia Micarelli
²: Lucia Micarelli, accompanied by Tull
³: Lucia Micarelli alone

audience recording (1st gen from MD master>WaveLab 4.0>wave>flac rontend level 8)

Source: Audience Mini Disc Recording 
Taped by: SF 
Transferred by: SF 

CD 1

01 Intro
02 Living In The Past
03 Jack-In-The-Green
04 The Donkey And The Drum (vom nächsten Album)
05 Thick As A Brick
06 Pastime With Good Company (King Henry's Madrigal)
07 Mother Goose
08 Bourée
09 Nothing Is Easy
10 After You After Me (von Martin Barres Solo-Album)
11 Aqualung (orchestral version)

CD 2

12 America (L. Bernstein; Keith Emerson) / My God
13 Budapest


14 Locomotive Breath
01. Yellow Time (Mostly Autumn)
02. Caught in a Fold (Mostly Autumn)
03. Heroes Never Die (Mostly Autumn)
04. My Sunday Feeling
05. Living in the Past
06. So Much Trouble
07. Serenade to a Cuckoo
08. Nursie
09 A Song for Jeffrey
10. A New Day Yesterday/Kelpie
11. Bouree

01. For a Thousand Mothers
02. We Used to Know/With You There to Help Me
03. Dharma for One
04. Heavy Horses
05. Farm on the Freeway
06. Thick As a Brick
07. Aqualung
08. Locomotive Breath

Set I
Disc 1
1.Alabama Chrome
2.The Wound That Never Heals
3.Handcuffed To A Fence In Mississippi
4.King Of The Road
5.Heaven Of My Heart
6.I'll Never Know
7.God Was Drunk When He Made Me
8.Hey, You Going My Way?
Set II
1.a discussion of poptomism
2.Take Me Away
3.A Perfect Day To Chase Tornados
4.The Girl From Brownsville, TX
5.You Can't Get To Heaven On Borrowed Wings
6.Objects In Motion
7.Bound To Forget
8.A Land Called Home
Alabama Chrome
The Wound that Never Heals
Handcuffed to a Fence in Mississippi
King of the Road
Heaven of My Heart
I'll Never Know
God Was Drunk When He Made Me
Hey, You Going My Way?

Take Me Away
A Perfect Day to Chase Tornadoes
The Girl from Brownsville, TX
You Can't Get to Heaven on Borrowed Wings
Objects in Motion
Bound to Forget
A Land Called Home
Jim White
October 17, 2003
The Abbey Pub
Chicago, IL 

Here's one of the greatest songwriters around these days.  He has a brand new album out and a couple before that, so as always, take a chance on this recording, then go out and buy all his stuff. 

On this tour he played alone - not acoustic guitar guy prattling on about lost love, but Electric Guitar guy with samplers, harmonicas, drum machines, loop machines and a couple of microphones for different sounding vocals.  It was really quite something to see the amount of gear one guy can use. 

The albums actually sound a lot different from this stuff, but that's what makes it so cool.  On album he has a full compliment of band members playing stuff - here it's just him, and he changes the songs accordingly.  Very fun and interesting stuff.  He's also a very nice guy who asked if I made a living doing this stuff.  After assuring him I'm only trading music he happily let me record.  Here it is - take a chance, you might find a new band you've never heard of who makes you happy!

As usual there are way too many people talking during the show.  He even mentions it at one point and people actually shut up for awhile.  Ignore them - the music is really nice.

Soundman OKM-II Rock Binaural mics with Sony TCD8 DAT recorder. DAT to CDr xfer via analogue cable to Tascam stand-alone burner. Finally, made it a SHN with xACT and uploaded with Bittorrent for MAC."
CDR > EAC > FLAC Frontend > Trader's Little Helper to create checksum files and test encoded files and SBE. 

"Stop Worshipping Me"
50:42 minutes; 511 mb wav; 245 mb flac

01. Hey, you going my way? 
02. Vegas showmanship 
03. The would that never heals 
04. Stop worshipping me 
05. That girl from Brownsville, TX 
06. Platication 
07. Take Me Away 
08. Indonesean record pirates 
09. Alabama Chrome 
10. Metaphors are good things 
11. A Perfect Day to Chase Tornadoes 
12. You Want a new one? 
13. Objects in Motion
1 Killing Floor
2 Tax Free
3 Fire
4 Red House
5 Foxy Lady
6 Hey Joe
7 Spanish Castle Magic
8 Purple Haze
9 Wild Thing# (cut off)

This show is widely available on bootleg, but this is sourced from a superior trader's CD, made from the master tape at the correct speed and including the in-between-song chatter which most bootleg releases omit.

From Chris Dixon's 30th Anniversary Series

March 19, 1998 marks 30 years since the Ottawa Capitol Theatre show.

Not only is this a good show, but one of the few soundboard tapes from this tour. Apparently taped by Jimi himself, it sounds excellent. It's the first complete North American show on soundboard since Monterey, I believe, at least until this rumored Feb. Winterland tape appears (except for 3 songs from Worcester, Mass, March 15, 1968). There isn't another soundboard until Miami (and it's only 4 songs), except of course for the infamous Scene Club and Cafe Au Go Go (March 17, 1968) jams. After that, Woburn (insert Twilight Zone theme...). Couple of highpoints of Ottawa:

Tax Free growing longer each time out- now around 10 minutes (almost half again as long as DC Hilton a week before)...

Red House much longer now (almost 10 min). Jazzier middle section now developing, and I believe it's the first outing for the interlude where Jimi 'slaps'(a drumstick?) the chords rather than strums them. The recording quality really shines on the guitar sound on this one - it's like sitting in front of the Marshalls and you can hear every detail and nuance of his blues technique and clean tones...

Spanish Castle Magic, on the other hand, has yet to become the jamming vehicle it would be in the 69 shows. Less than 4 minutes, this is only the 5th documented performance of SCM. Jimi's voice sounds great on this - maybe he can hear himself for once because he doesn't seem to be straining and the crisp recording reveals all kinds of little inflections and joking asides that would be lost in most audience tapes...

Purple Haze stretched to almost 7 minutes with free form guit ar intro and extended outro...

This show's a must have and is available on a number of boots (Gone But Not Forgotten, Canadian Club, Thanks Ottawa For The Memories., Superconcert 68, others) and of
course on tape!
12/31/69 and 1/1/70

01 Who Knows
02 Machine Gun
03 Them Changes
04 Power of Soul
05 Stepping Stone
06 Foxy Lady
07 Stop
08 Earth Blues
      (1st show: Jan. 1st, 1970)

09 Stepping Stone
10 Fire
11 Ezy Rider
     (2nd show: Dec. 31st, 1969)

12 The Wind Cries Mary
     (Top of the Pops. May 10th, 1967)

13 Gloria 
    (TTG Studios, Oct. 29th, 1968)
Jimi Hendrix
In the Studio
volumes 1-10
10CD Collector's Limited Edition of 1000 copies (This is #326)
Reclamation label, no catalog # given, 2006

CD 1:  
1. Wait Until Tomorrow (Hendrix) 3:26  
2. Spanish Castle Magic (Hendrix) 2:42  
3. Golden Rose (One Rainy Wish) (Hendrix) 3:55  
4. Ain't No Telling #1 (Hendrix) 1:52  
5. South Saturn Delta (Hendrix) 4:52  
6. Little One #1 (Hendrix) 1:52  
7. Little One #2 (Hendrix) 3:34  
8. Castles Made Of Sand (Hendrix) 2:48  
9. Ain't No Telling #2 (Hendrix) 1:51  
10. She's So Fine (Redding) (2:38)  
11. Up From The Skies (Hendrix) 2:56  
12. Bold As Love (Hendrix) 3:27  
13. Little Miss Lover (Hendrix) 2:14  
14. Waterfall (May This Be Love) (Hendrix) 3:11  
15. Have You Ever Heard (Hendrix) 3:45  
16. Dream (Hendrix) 2:06  
17. Dance (Hendrix) 1:57  
CD 2:  
1. Valleys Of Neptune (Hendrix) 5:37  
2. Lover Man (Hendrix) 4:12  
3. Machine Gun (Hendrix) 12:51  
4. Trying To Be (Stepping Stone)/Earth Blues (Hendrix) 7:16  
5. Stepping Stone (Hendrix) 4:15  
6. Untitled Guitar Improvisation (Hendrix) 5:22  
7. Keep On Grooving (Midnight Lightning) (Hendrix) 11:57  
8. Come Down Hard On Me Baby (Hendrix) 3:31  
9. Drifters Escape (Hendrix) 3:07  
10. Belly Button Window (Hendrix) 5:29  
11. Bolero (Hendrix) 5:48  
CD 3:  
1. Drifting (try out) (Hendrix) 3:52  
2. Keep On Groovin' Drifting (try out) (Hendrix) 0:57  
3. Midnight Lightnin' (try out) (Hendrix) 0:24  
4. Freedom (alternate take) (Hendrix) 4:04  
5. Cherokee Mist/In From The Storm (Hendrix) 6:31  
6. Valleys Of Neptune (instrumental) (Hendrix) 4:37  
7. Lil Dog Of Mine/Heaven Has No Sorrow (session) (Hendrix)12:50  
8. Valleys Of Neptune (session) (Hendrix) 21:21  
9. Improvisation/Drifting(try Out) (Hendrix) 3:34  
10. Had To Cry Today (Hendrix)1:27  
11. Angel (intro instrumental #1) (Hendrix) 0:27  
12. Angel (complete instrumental) (Hendrix) 4:45  
13. Angel (intro instrumental #2) Hendrix) 0:35  
14. Drifting (alternate take) (Hendrix) 3:41  
15. Angel (alternate version complete with vocals) (Hendrix) 4:21  
16. Belly Button Window (instrumental) (Hendrix) 5:11  
CD 4:  
1. Lover Man (Hendrix) 2:51  
2. Message To Love (Hendrix) 3:34  
3. Izabella (take 2) (Hendrix) 3:51  
4. Bleeding Heart (blues in C sharp) (Hendrix) 3:26  
5. Izabella (take 1) (Hendrix) 4:41  
6. Blue Suede Shoes (Hendrix)11:36  
7. Power of Soul (takes nos. 1 to 16) (Hendrix) 26:41  
CD 5:  
1. Bleeding Heart (Hendrix) 3:49  
2. Rainy Day Dream Away (false start) (Hendrix) 0:54  
3. Rainy Day Dream Away (practice session) (Hendrix) 2:19  
4. Rainy Day Dream Away/Still Raining, Still Dreaming (Hendrix) 10:23  
5. Send My Love To Linda/Live And Let Live (Hendrix) 11:04   
6. Mannish Boy/I'm A Man (Waters/Diddley) 39:55   
CD 6:   
1. Cherokee Mist (Hendrix) 7:08   
2. Jam H290 (Hendrix) 1:31   
3. Voodoo Chile (Hendrix) 36:44   
4. Ships Passing In The Night (Hendrix) 2:54   
5. Calling All Devil's Children Jam (Hendrix) 14:05   
CD 7:   
1. Jam including Stepping Stone, Sending My Love To Linda, Freedom, Here Comes The Sun, Cherokee Mist, All Devils Children (Hendrix) 23:48   
2. Closer To The Truth (Room Full Of Mirrors recital) (Hendrix) 22:04   
3. Jam Back At The House (Hendrix) 5:45   
4. Midnight, Valleys Of Neptune Arising (Hendrix) 14:53   
5. Pride Of Man (Bolero) (Hendrix) 1:26   
6. Pride Of Man (Bolero) (Hendrix) 2:18   
CD 8:   
1. Electric Church (Hendrix) 7:27   
2. Hear My Freedom (Hendrix) 16:30   
3. Honey Bed (Hendrix) 7:50   
4. Room Full Of Mirrors (Hendrix) 2:31   
5. All Along The Watchtower (Hendrix) 4:01   
6. Ezy Rider (Hendrix) 4:21   
7. Dolly Dagger (Hendrix) 4:02   
8. South Saturn Delta (Hendrix) 5:49   
9. Shame Shame Shame (Hendrix) 1:52   
10. Gypsy Blood (Crying Blue Rain) (Hendrix) 2:36   
11. Sunshine Of Your Love (Bruce/Brown/Clapton) 5:27   
CD 9:   
1. Angel (Hendrix) 3:18   
2. 1983 (A Merman I Should Turn To Be) (Hendrix) 8:10   
3. Astro Man/Valleys Of Neptune (Hendrix) 3:20   
4. Gypsy Eyes (Hendrix) 2:38   
5. Cherokee Mist (Hendrix) 3:12   
6. Cherokee Mist/Gypsy Eyes (Hendrix) 12:12   
7. Power Of Soul (Hendrix) 7:10   
8. Long Hot Summer (Hendrix) 2:13   
9. Long Hot Summer (Hendrix) 1:50   
10. Hear My Train A Comin' (Hendrix) 1:14   
11. Hear My Train A Comin' (Hendrix) 1:08   
12. Gypsy Eyes (3rd take) (Hendrix) 3:28   
13. Gypsy Eyes (riff) (Hendrix) 0:44   
14. South Saturn Delta (Hendrix) 3:39   
15. 3 Little Bears (Hendrix) 2:15   
16. 1983 (A Merman I Should Turn To Be - instrumental) (Hendrix) 4:27   
17. Acoustic Jam (Hendrix) 3:09   
CD 10:   
1. Hey Joe (Roberts) 3:08   
2. Purple Haze (Hendrix) 3:02   
3. Red House (Hendrix) 10:59   
4. Crosstown Traffic (Hendrix) 2:29   
5. Takin' Care Of Business (Hendrix) 3:27   
6. I Don't Live Today (Hendrix)   
7. Wind Cries Mary (Hendrix)   
8. One Rainy Wish (alternate mix) (Hendrix) 3:56   
9. La Poupee Qui Fait Non (Polnareff/Gerald) 3:31   
10. 51st Anniversary (Hendrix) 3:22   
11. 51st Anniversary (Hendrix) 5:14   
12. Can You See Me (Hendrix) 8:47   
13. Can You See Me (Hendrix) 2:38   
14. Fire (Hendrix) 2:36   
15. Fire (Hendrix) 7:38   

In The Studio – Volume 1

The recordings featured in the first of the In The Studio series cover the time period May 1967 through to early 1968. Hendrix had blazed a trail across Europe performing at many concerts where his brand of musicianship, allied to a strong sense of showmanship drew acclaim and respect in equally large amounts. More importantly Jimi had played at the Monterey Festival in the summer of 1967 where he was an unqualified success, stealing the show from bigger and more established performers.

During this period The Experience recorded two exceptional albums in Are You Experienced and Axis Bold As Love. In early 1968 he would begin work on the monumental double album that would become Electric Ladyland. This album would be the final album from the original Experience but at this point in time Hendrix had also collaborated with many other musicians and Jack Cassidy of Jefferson Airplane, Dave Mason and Steve Winwood of Traffic and Al Kooper were just some of the people who guested on this landmark album.

Wait Until Tomorrow
Recorded 26th October 1967 at Olympic Studios alternate mix using automatic double tracking on the vocal part.

Spanish Castle Magic
Recorded 27th October 1967 at Olympic Studios.

Golden Rose (One Rainy Wish)
Recorded 3rd October 1967 at Olympic Studios with overdubs on 29th October. This is a slightly longer alternate mix.

Ain't No Telling #1
Recorded 26th October 1967 at Olympic Studios this version includes rhythm guitar in a more central mix as opposed to at the side.

South Saturn Delta
Recorded December1967 at Olympic Studios with Dave Mason and an unknown drummer.

Little One #1
Recorded 30th December1967 at Olympic Studios with Brian Jones, Dave Mason and Mitch Mitchell.

Little One #2
Recorded 30th December1967 at Olympic Studios with Brian Jones, Dave Mason and Mitch Mitchell. This version has different bass parts and Dave Mason plays slide guitar on this version.

Castles Made Of Sand
Recorded 29th October 1967 at Olympic Studios this is an alternate mix.

Ain't No Telling #2
The second take of this song, which runs pretty much as the first version although with this take is slightly longer.

She's So Fine
Recorded 4th May 1967 at Olympic Studios 1967 with overdubs laid down on 30th October of that year. This is an alternate mix with different vocals by Noel Redding who wrote the song.

Up From The Skies
Recorded 29th October1967 at Olympic Studios, this is an alternate mix with the vocals on one channel.

Bold As Love
Recorded 29th October 1967 at Olympic Studios, this version has a totally different vocal take and an early fade out and does not have the phasing effect at the end.

Little Miss Lover
Recorded 1st October 1967 at Olympic Studios this is an alternate take with a wolf-whistle at the beginning of the track.

Waterfall (May This Be Love)
Recorded 3rd April 1967 at Olympic Studios, this is an alternate mix.

Have You Ever Been (To Electric Ladyland)
Recorded in January1968 at Olympic studios, this track features Jimi with an unknown musician (rumoured to be Dave Mason of Traffic) on bass. Although the song would go on to appear on the Electric Ladyland album this session took place before the real sessions for Electric Ladyland began in New York in early April.

Noel Redding penned track and featuring him on vocals. Recorded 20th December1967 at Olympic Studios, was cut as an acetate with a single in mind but was never issued.

Recorded 20th December1967 at Olympic Studios featuring Mitch Mitchell on vocals.

In The Studio Volume 2

The recordings featured on Volume 2 of the In The Studio series cover the time period April 1969 through to July 1970 less than two months before Jimi's death in September of the same year. During this period The Jimi Hendrix Experience had split at the end of one last tour following the final concert in Denver. Jimi retained Mitch Mitchell but called on former army buddy Billy Cox to play bass. These two musicians along, with guitarist Larry Lee and percussionists Jerry Velez and Juma Sultan played the legendary Woodstock festival in August 1969. Shortly after that Jimi began a new project called The Band Of Gypsys. This band featured Jimi alongside Billy Cox and drummer Buddy Miles. The band made its live debut in December 1969 at the Fillmore East, which resulted in a live self-titled album. The band however would last barely a handful of dates before falling apart in front of a large audience mid gig at Madison Square Garden. As was Jimi's practice however The Band Of Gypsys recorded much material including a track featured on this album Machine Gun. Machine Gun had been a highlight of the live Band Of Gypsys' show and the studio version is no less of a highlight here with its extended solo and "Machine Gun" like drumming from Buddy Miles.

Much of the material featured on this album was recorded in New York's Record Plant or Hit Factory although with his eye on the studio clock and the old adage of "time is money" Jimi began work on his own recording studio where he would not be bound by the constraints of either. Electric Lady Studios opened with much fanfare in August 1970. In fact the party continued until Jimi had to leave America to play what would be his final British concert date at the Isle Of Wight Festival.

One of the key tracks featured on Volume 2 of the In The Studio series is possibly one of the earliest recordings by The Band Of Gypsys. Machine Gun was recorded less than two weeks after Jimi's appearance at the Woodstock Festival. This recording also features Juma Sultan who had played with Hendrix at Woodstock.

Valleys Of Neptune
23rd September 1969 at the Record Plant which was recorded while The Band Of Gypsys were rehearsing and putting material together. This take is without any noticeable bass.

Lover Man
Recorded 6th September 1969. This is another recording to feature the Band of Gypsys. This version was recorded at the Hit Factory and was an instrumental take with Jimi's intro.

Machine Gun
29th August 1969 Hit Factory. Another Band Of Gypsys' recording. This is the first take of one of the most famous Jimi Hendrix songs which was seen as a comment on the situation taking place in Vietnam.

Trying To Be (Stepping Stone)/Earth Blues
15th September 1969 at the Record Plant. Once again another recording with the Band of Gypsys This take also includes Juma Sultan on percussion. The end of this recording segues into Earth Blues.

Stepping Stone
The basic track was laid down 3rd -7th January 1970 at the Record Plant and after much overdubbing and mixing was completed 15th February although Jimi was not satisfied and further work was undertaken right up to August 20th. This version has wah wah guitar effect coming through one speaker as opposed to the panning effect.

Untitled Guitar Improvisation
Hendrix recorded many pieces like this improvisation perhaps for work on at a later date perhaps merely for the joy of playing. The exact date of this improvisation is unknown although it is thought to have been recorded in 1970 at the Electric Lady studios, which places it sometime in late summer.

Keep On Grooving (Midnight Lightning)
17th April 1969 at the Record Plant this is a rough play through with Paul Caruso adding harmonica and Devon Wilson, Jimi's sometime girlfriend, on backing vocals. The relaxed nature of this recording would suggest that it was never considered as a final take.

Come Down Hard On Me Baby
Recorded at Electric Lady Studios in July 1970 with Mitch Mitchell and Billy Cox and subsequently remixed by Alan Douglas after Hendrix's death.

Drifters Escape
Recorded at Electric Lady Studios on 17th June 1970 with overdubbing done 22nd August with Mitch Mitchell and Billy Cox. This version has only one lead guitar part rather than the layered effect Jimi sometimes favoured in the recording studio.

Belly Button Window
Recorded on 23rd July 1970 at Electric Ladyland Studio with Billy Cox and Mitch Mitchell, this is an unused alternate instrumental version of the song that would eventually form part of the first posthumous Hendrix release, The Cry Of Love.

Recorded 1st July 1970 with Billy Cox, Mitch Mitchell and Juma Sultan at Electric Lady Studios. This track was also known as Here Comes The Sun.

In The Studio Volume 3

All the tracks contained in this volume of the In The Studio series were recorded at the new Electric Lady studio complex Hendrix had built in New York. Part of the money used to finance the building of the studio had been advanced by Warners on condition that the guitarist would appear in a film entitled Rainbow Bridge which was the brainchild of Jimi's manager Mike Jeffery. This he agreed to do and Warners no doubt expected to receive a soundtrack album featuring Jimi's performance captured on film in Hawaii (to date no official release of the two sets Jimi that the band played has appeared).The Electric Lady studios were intended as a solid business proposition, as, although the studios would hired out for other recording sessions, it would in theory cut down on the considerable expenses Jimi was chalking up at his favourite New York studio, The Record Plant. It was also thought that in his own studio there would be no time constraints and this would ultimately make Jimi more relaxed and creative. Whilst still not officially opened for business Jimi was regularly using the studio as soon as the equipment was installed, thus much of the studio material recorded in the final months of his life comes from sessions recorded there.

Of the many sessions that took place at Electric Lady in the summer of 1970 some of the tracks featured here such as Belly Button Window, Freedom, Angel and Drifting would eventually become key tracks on The Cry Of Love , instantly familiar to the many people who own the album. The versions presented here are of course works in progress, but the evolution of the songs (particularly Angel) can be heard in detail over the course of the three versions featured in this volume.

The session that took place on the 26th of June is interesting as Valleys Of Neptune was certainly a song Jimi wanted to include on the First Rays Of The New Rising Sun. The work that took place on this night in common with the night before, featured just Mitch Mitchell on drums and Jimi on guitar and later overdubbing bass. Subsequently however the song did not appear on any of the three albums (The Cry of Love, Voodoo Soup and The First Rays Of The New Rising Sun) that purported to represent the album Jimi was working on at the time of his death.

During the time that these sessions were recorded Jimi, Mitch and Billy were also performing regularly and while the studio didn't receive an official opening until the 26 August, Electric Lady almost became a second home for Jimi and his creative needs with sessions usually lasting well into the night. As befits the original idea of a double album, a great deal of material was recorded and some of it would undoubtedly have been included in the final running order of the First Rays Of The New Rising Sun although it is safe to assume that some of it would simply have been discarded or reworked later for other projects. We will of course never know for sure. What is fascinating is the glimpse we do get of Jimi's recording methods on this album of sessions which in addition to the music also includes chat between and during the various takes between Jimi and the engineers and other musicians.

In The Studio Volume 4

The music contained on this, the fourth volume of the In The Studio series comes from the period 7th November 1969 through to May 1970. During this period Jimi became involved in what would turn out to be the short-lived Band Of Gypsies project that featured drummer Buddy Miles and bassist Billy Cox. Billy had been playing with Jimi since the break up of the original Experience following a concert in Denver in June 1969. Many people have since claimed that The Band Of Gypsies were never meant to be a long term project but merely an opportunity to fulfil a contractual obligation. Whatever the reason halfway through an appearance at Madison Square garden in early 1970 the Band Of Gypsies broke up rather spectacularly and Jimi once again began working with Billy Cox and Mitch Mitchell.

Some of the key tracks recorded during this period would go on to appear in different forms on albums released following Jimi's death in September 1970 such as Rainbow Bridge, The Cry Of Love and Loose Ends.

Lover Man
Recorded on the15th May 1970 this recording features Billy Cox on bass and Mitch Mitchell on drums. The engineer was Eddie Kramer assisted by Tom Flye.

Message To Love
Recorded on the 19th December 1969. The band was Billy Cox on bass and Buddy Miles on drums The engineer was Bob Cotto and the 2nd engineer R. Beekman. This song was originally entitled Message To The Universe.

Izabella (reel 4 take 2)
Recorded on the 7th November 1969 and engineered by Jack Adams and Dave Ragno. With no bass player, Hendrix and Buddy Miles ran through many takes of this track which ended with technical problems. A young Tony Bongiovi was ultimately sent for to sort out the problems

Bleeding Heart (blues in C sharp)
This alternate mix comes from the session that too place on 24th March 1970. The band, which was the one to remain in place until Jimi's death in September of 1970, consisted of Billy Cox on bass and Mitch Mitchell on drums. The engineer was Jack Adams and the 2nd Engineer Dave Ragno. Only four versions of this song were ever recorded with the 4th take appearing on the Rainbow Bridge album. Originally recorded with an unknown drummer and no bassist, Billy Cox later joined the session but Mitch Mitchell's drums were recorded later at Electric Lady studios.

Izabella (take 1)
Another take from the session listed above and featuring the same line up which lends the song a different feel from the version recorded with the Band Of Gypsies some four months previously.

Blue Suede Shoes
This is the most complete version of the old Carl Perkins song. Another, shorter version of this song would eventually surface on the Loose Ends album. This version was recorded during the final days of the Band Of Gypsies on the 23rd January 1970 under the stewardship of engineer Bob Hughes and 2nd engineer Dave Ragno. The band here is Billy Cox on bass and Buddy Miles on Drums

Power of Soul (takes 1 - 16)
This work I progress was recorded on the 21st November 1969. The Band Of Gypsies were deep into recordings and rehearsals for what would turn out to be their only major appearance at the Fillmore East at the end of the year Billy Cox. The engineer was Tony Bongiovi assisted by Tom Erdelyi. The song was originally called Paper Airplanes and has appeared listed on some bootlegs under this title. Interestingly, both Tommy Erdelyi and Tony Bongiovi would work together in the ‘70s when Tony produced the Ramones with Tommy, now known as Tommy Ramone, the Ramones drummer.

In The Studio Volume 5

The only place Jimi seemed to be able to relax was in the recording studio and his studio of choice certainly in New York was The Record Plant. It was at this particular studio that Jimi jammed with many artists including Stephen Stills, John McLaughlin and many others. McLaughlin's Devotion album was also recorded at The Record Plant by producer Alan Douglas a character destined to feature prominently in the guitarist's posthumous musical legacy.

The sessions featured on this particular volume of the In The Studio series are drawn from recordings made at The Record Plant. It was here that Jimi would spend not merely hours but sometimes days just playing and finding out just what the recording studio offered, and it could be said that Jimi regarded the studio as somewhat of a sound laboratory. The recordings contained in this volume cover the period between June 1968 when Jimi was recording material that would eventually be heard on the double album Electric Ladyland and April 1970 which was post Band Of Gypsys. Throughout the performances you can hear a musician who is relaxed and enjoying the creation of music for the sake of it although, the burgeoning cost of studio time was certainly one of the considerations when Hendrix decided he wanted a studio of his own. No doubt manager Mike Jeffrey would have drawn attention pointed out the fiscal need for his own studio and also a place where he could record and play day and night of he so desired.

Starting with the opening track Bleeding Heart. This Elmore James song would eventually see a release almost two years after Jimi's death on the War Heroes album although certainly recorded at around the same time that material was being recorded for his next studio album a popular live song for the Experience who performed it live at The Albert Hall in 1969. This take was recorded on the 24th of March 1970 by Hendrix, supported by Cox, Mitchell and Juma Sultan on percussion, this version is a different mix from the master with the wah wah and vocals mixed low at the start and at the end. There is a small drum break and some snippets of Jimi just messing around on guitar

The next three tracks on this disc are versions of Rainy Day Dream Away and Rainy Day Dream Away/Still Raining Still Dreaming. All three come from an earlier session recorded on the 10th of June 1968 and eventually appeared on the Electric Ladyland album. Here we have the original run through with a false start and then the practice session. On the original Electric Ladyland album both the tracks Rainy Day Dream Away and Still Raining Still Dreaming were separate tracks but here the two tunes run together to make an extended version. A dry alternate mix of Rainy Day Dream Away/Still Raining Still Dreaming recorded 10th June 68 featuring Jimi on guitar, Mike Finnegan on organ, Buddy Miles on drums, Freddie Smith on sax and Larry Faucette on percussion.

Stephen Stills and Hendrix crossed paths on a regular basis and Stills has subsequently expressed his love for both the man and his music. There was also the story that Jimi wanted Stephen Stills to play bass in his band following his return from Germany in the autumn of 1970. Although unfortunately it wasn't to be, this jam session is a small glimpse into what they could have achieved together. Recorded around mid May 1969 we have takes 4 and 5 of Send My Love To Linda/ Live And Let Live Here Jimi is joined by Stills and Dallas Taylor who had both played on the soon to be massively popular debut from Crosby Stills and Nash. Both acts would subsequently make history when they appeared at the legendary Woodstock festival some three months later

The final track featured of this volume finds Jimi going back to his blues roots and covering Muddy Waters and Bo Diddley. Both artists held a massive influence over rock music in the late sixties and early seventies and Jimi Hendrix was equipped better than most to put a new spin on an old standard. Mannish Boy/ I ‘m A Man was recorded on the 22nd April 1970 with Billy Cox on bass and Devon Wilson and unknown guests on percussion and drums. This is a peculiar session as three sections of the tape have been found but the whole session is still incomplete, this has been deduced by some composites that have been discovered that include parts that are missing from the original tapes.
This latest volume of the In The Studio series finds Jimi relaxed and in good form which is slightly surprising as during this period he was in high demand and the pressure on him, both in terms of what the public wanted but also his own personal creative aspirations, must have been a difficult road to walk.

In The Studio Volume 6

The sessions featured on Volume 6 of the In The Studio series are drawn from recordings made at The Record Plant in New York and were made between April 1968 when Jimi was recording material that would eventually be heard on the double album Electric Ladyland and May 1969 which was around the time of the break up of the original Experience and prior to Jimi's landmark appearance at the legendary Woodstock Festival in August 1969 Throughout the performances here you can hear a musician who is relaxed and enjoying the creation of music for the sheer sake of it.

The opening track on this album comes from the sessions that spawned the Electric Ladyland album although Cherokee Mist had first surfaced during sessions for the previous album Axis Bold As Love.

Recorded on 2nd May 1968 with Jimi playing the Sitar as well as guitar and featuring Mitch Mitchell on drums. This version is a different take and almost a minute longer than the version contained on the box set.

The next track entitled Jam H290 comes from the same session that produced Send My Love to Linda/Live And Let Live which features on Volume V of the In The Studio series. This rare jam was recorded in mid May 1969 with Stephen Stills on bass and Dallas Taylor on Drums.

Another song from the Electric Ladyland sessions was Voodoo Chile. The official version released on Electric Ladyland in 1968 ran to just over fifteen minutes. Here is a version in which, although more than double the length of the original, do the musicians become complacent or the energy dips The session started in the evening of 2nd May 1968 and features Jefferson Airplane bassist Jack Casady on bass Mitch Mitchell on drums and Traffic's Steve Winwood on keyboards

The following two tracks have been drawn from sessions that have received scant appreciation from musicologists and Hendrix experts alike which is surprising when you consider the amount of recordings Jimi Hendrix made and how well these sessions were usually documented.

The first of these is Ships Passing In The Night. This was recorded on the 14th April 1969 Jimi with unknown musicians although the track is often accredited to the Band of Gypsys augmented by an a trumpeter and a pianist. The version featured here is an alternate mix. Whilst many believe this to be a Band of Gypsys number by this time the band had split following a disastrous performance at Madison Square Garden and the drummer is possibly Mitch Mitchell rather than Buddy Miles although this cannot be confirmed.

The final track featured in this volume of the In The Studio series is Calling all Devil's Children Jam Almost no information concerning this track exists save for the brief that Jimi Hendrix plays bass on this track and that it was more than probably recorded at The Record Plant at some point in 1968, possibly the same time as Look Over Yonder. As Noel Redding receives a co-credit it would seem natural to assume that he also took part in the recording although this cannot be confirmed.

In The Studio Volume 7

Between March 1969 and June 1970 Jimi Hendrix's life was frenetic on every level. During this period the original line up of The Experience split up following a concert in Denver in June 1969, a new band (Band Of Gypsys) was formed and disbanded and split the same band all within a few months (Band Of Gypsys). He was involved in a film (Rainbow Bridge) building his own studio (Electric Lady Studios), and as if all that wasn't enough, was trying to record a new studio album. The recordings featured on this album are all drawn from one of the busiest and perhaps most stressful periods of Hendrix's life.

Jam including: Stepping Stone, Sending My Love To Linda, Freedom, Here Comes The Sun, Cherokee Mist, Call All The Devil's Children
This recording was made at Jimi's apartment at West 12th Street in Greenwich Village on 1st February 1970. In truth home recording sessions like this were common place with Jimi working out alternative arrangements and ideas for new songs. This session is an acoustic one, although both Mitch Mitchell and Billy Cox would drop in to add their contributions to the recordings. On this occasion it is Mitch Mitchell who underpins Jimi's acoustic jamming and can be heard clapping along and providing percussion throughout. The jam is a light-hearted affair with Jimi and Mitch singing a snatch of Be Bop A Lula at the start of the tape when they are setting up the echo for Mitch's clapping and percussive effects.

Closer To The Truth (Room Full Of Mirrors recital)
This is another home recording although this time recorded at his British base in Brook Street, London on 10th March 1969. Earlier in the day Jimi had given an interview to the magazine International Times. The recording is a basic overdubbed recording hence Jimi's recital is panned over to the right hand side of the stereo divide. Whilst some of the words seem scripted, parts are obviously off the cuff bringing an air of spontaneity. The musical backing also drops out and comes back in again around the twelve minute mark giving the whole recording an experimental sound collage feel.

Jam Back At the House
Recorded at Electric Lady studios on the 16th of June 1970. This was Jimi's first opportunity to record at his own studio Electric Lady studios. During a 3-day session, Hendrix laid down tracks (including this song) which had originally be rehearsed in the weeks leading up to the Woodstock performance in August 1969. Other musicians that had dropped by in the previous days were Traffic's Chris Wood and Steve Winwood although they don't appear on this session alongside Hendrix, Mitch Mitchell and Billy Cox.

Midnight, Valleys Of Neptune Arising
Recorded at Olmstead studios New York on the 3rd of April 1969 This session features the song Midnight which had started life in Olympic Studios on the 14th of February under the title Midnight Lightning. The shortened version entitled just Midnight would eventually appear on the South Saturn Delta album.

The last two recordings on this album are short takes of Pride Of Man (Bolero) with the second take being almost one minute longer than this first. Having moved back to New York from Woodstock Jimi was recording at the Record Plant with the Gypsy Sons and Rainbows band. Feeling the band was played out despite only two gigs (Woodstock on the 18th of August and a benefit gig in Harlem on the 5th of September) he disbanded the group following a series of sessions including the one that produced this track recorded on the 24th September 1969. A projected tour was also cancelled as Jimi felt unable physically and mentally to perform. Shortly after, however, Jimi would start to play with Billy Cox and Buddy Miles in what would become the Band Of Gypsys.

Pride of Man (Bolero)
Recorded 24th September 1969
Second slightly longer version of the above song recorded at the same session featuring Juma Sultan on percussion who featured on both takes alongside Jimi and Billy Cox.

Despite being drawn from the busiest period of Jimi's life bearing in mind that Jimi was also beginning to have doubts concerning his managerial contract with Mike Jeffery, the recordings here prove that artistically at least Jimi was still able to create music. In fact it is probably is desire and his ability to do this that kept Jimi on a (somewhat) even keel during this turbulent period of his life.

In The Studio Volume 8

The sessions featured in this volume date from between January 1968 and the sessions for what would turn out to be Electric Ladyland, the groundbreaking double album released in October ‘68 through to some of the last recordings Jimi would make in the summer of 1970 in his own Electric Lady studios.

Electric Church.
Jimi spent much of October 1968 in Los Angeles in the midst of a hectic touring schedule, recording or producing the Eire Apparent album and invariably playing one-off gigs. This song was recorded at TTG Hollywood studios 29th October 1968 with Buddy Miles & Lee Michaels on keyboards alongside Jimi, Noel and Mitch. The track is basically a jam although the Red House dies put in an appearance.

Hear My Freedom
Recorded at TTG studios Hollywood 21st October 1968 with Buddy Miles & Lee Michaels on keyboards. Jimi had hooked up with Lee Michaels earlier in the month when he dropped in to catch a Michaels' performance at the Whiskey A Go Go. This track was cut during a session which was also taken up with twenty seven versions of another song, Call All The Devil's Children

Honey Bed
Recorded at the Record Plant on 23rd December 1969 with Billy Cox & Buddy Miles for possible inclusion on the proposed Band Of Gypsys studio album which ultimately failed to materialise. The song was a full attempt at recording and features elements of another song, Bleeding Heart.

Room Full Of Mirrors Recorded at Olympic studios 26th February 1969. This is an early version of the song featuring Mitch Mitchell & Noel Redding. Further attempts were made to nail this track in April and November of the same year. The released version was recorded in Nov ‘69 with the Band of Gypsies and the Ghetto Fighters line-ups at the Record Plant.

All Along The Watchtower
Recorded at Olympic studios on 21 January 1968, this song would go on to be a huge worldwide hit and even Bob Dylan approved of the cover of one of his most successful songs. This is a basic early mix by Chas Chandler and includes contributions from Rolling Stone Brian Jones on percussion. Jimi plays bass and guitar with Mitch Mitchell on drums and Dave Mason of Traffic playing twelve string acoustic.

Ezy Rider
This is an alternative mix of a song that would eventually find release on Jimi's first posthumous release, The Cry Of Love, with this recording dating from December the 18th 1969. This particular version however features the Band Of Gypsys line up of Jimi alongside Billy Cox and Buddy Miles. Recorded at The Record Plant this take features an alternative mix with different lyrics and extra guitar although extra guitar overdubs and vocals were recorded at Electric Lady studios during the summer of 1970

Dolly Dagger
Another alternate mix. The basic track was recorded on the 1st of July 1970 at Electric Lady studios. The track was then overdubbed in mid July and again in mid August in what was possibly one of Jimi's last studio sessions before he died in September. The session featured Jimi Mitch and Billy with the Ghetto Fighters (Albert & Arthur Allen) on backing vocals. Juma Sultan also features on percussion.

South Saturn Delta
Recorded Olympic Studios January 1968 during the Axis Bold As Love sessions. The horns were added by Larry Fallon at the Record Plant in June 1969

Shame Shame Shame
Recorded 16th February 1969 at Olympic studios where a number of other songs were recorded including a prototype version of Ezy Ryder which was at the time entitled Slow. Overdubs were possibly added by Mitch and Noel in the ‘80s

Gypsy Blood (Crying Blue Rain)
Recorded on the 16th of February 1969 at Olympic studios with Mitch Mitchell and Noel Redding making this one of the last sessions to feature the original line up of The Experience. The session also featured an unknown percussionist although it may well have been Rocky Dijon who had guested with the band at the Royal Albert Hall the previous month. This song was recorded during the same session that Shame Shame Shame and Sunshine Of Your Love were recorded.

Sunshine Of Your Love
A long-time favourite of Jimi's who had also been a great admirer of Cream. Jimi decided to dedicate a spontaneous rendition of this song to Jack Bruce, Ginger Baker and Eric Clapton on a live version of the Lulu television show in January following Cream's disbanding the previous November. Perhaps it was this version of the song that made him decide to tape his own studio version of the song recording this version at Olympic Studios on the 16th February 1969.

This album once again proves that the recording studio really was the place where Jimi felt at ease and capable of creating music. The majority of the music featured here will be new to some more recent fans of the music of Jimi Hendrix but there is plenty here for the long time fan and the newcomer to savour and appreciate.

In The Studio Volume 9

It has often been said that Jimi Hendrix used to sleep with his guitar and although it is well known that he often enjoyed the company of more nubile bedfellows, it is fair to say that Hendrix was one of the most prolific artists of his generation. Many home recordings have come to light in the thirty five-plus years since his death in September 1970. Most of the recordings featured in this volume come from early 1968 when Jimi was in the process of working on the follow up to Axis Bold As Love. The third album, which was released in October 1968, was the massively successful Electric Ladyland.

The double album was packed with Jimi's best material at the time and almost half the tracks included in this volume of In The Studio would go on to be more fully realised on what is now considered one of the best rock records of the era and an album that is often cited as being Hendrix's best work.

Whilst in New York Jimi would sometimes stay at the Drake hotel and of course would occasionally write material while staying there. Generally however he used his own apartment and the majority of the material featured here comes from recordings made at that location.

The first track here is an early run through of Angel. Despite being written in late 1967 and demoed here at the beginning of the following year in Jimi's New York apartment the song would not form part of the Electric Ladyland line up. Instead it would feature on Jimi's posthumous album The Cry Of Love. This version is a straight run through on electric guitar and Jimi's solo vocal. The performance here finds the song already arranged and whilst missing the multi tracking that it would obviously benefit from in the studio the song is complete and is considered one of his best although quite why it was not considered for inclusion on Electric Ladyland is not clear.

The next track, 1983 (A Merman I Should Turn To Be) eventually found its way on to the Electric Ladyland album. This is the first of two versions featured here and another song originally recorded as a demo at the Drake Hotel in New York. This take was possibly recorded in the days before the second version (recorded on the 1st of February 1968) and while clocking in at around five minutes shorter than the version on Electric Ladyland the arrangements are all in place. The start of the songs finds Hendrix strumming the chords on an un-amplified electric guitar although as the song progresses the guitar switches to an amplified guitar although still being played softly.

Astro Man/Valleys Of Neptune were recorded at Jimi's apartment in late August and early September ‘69 although neither song would be released in Jimi's lifetime. Astro Man would be recorded in spring of 1970 and eventually see the light on the posthumous The Cry Of Love album released in early 1971. The version Valleys Of Neptune here is just a short instrumental snippet although a more fully realised version would be recorded in May 1970. However even then Jimi was to admit at the end of that particular recording that the song wasn't finished. This version then would appear to be the first attempt at the basic structure of the song.

Gypsy Eyes was another song that would go on to be included in the running order of Electric Ladyland. This volume features three versions of the song and four if you count a medley of it alongside Cherokee Mist. The versions collected here are the very rough home demos of the song although in the first version it is merely an instrumental take in order no doubt to get down the basic structure of the song.

Cherokee Mist is another previously unreleased Jimi Hendrix song although there is a version included in the Jimi Hendrix box which was captured at the Electric Lady studios in 1970 in between takes for Astro Man. The version featured here is the rough sketch of the song which is more of a rhythmic run through than the more finished song that was recorded more than two years later. It is from some of these rough sketches that Hendrix used to build other complete songs. Cherokee Mist/Gypsy Eyes would be a case in point building on the previous version this version recorded in April is a more complete version complete with lyrics that would form part of the song Voodoo Chile. The song segues into Gypsy Eyes now complete with rough vocal lines towards the end of the song.

Power Of Soul was included in rehearsals for the Band Of Gypsys only full concert appearances at the Fillmore East over the New Year 1969-70 suggesting the song must have been written and demoed in late 1969. The song is very much in the style of the material the Band Of Gypsys would perform live and may have been considered a contender for a hoped for but never realised Band Of Gypsys studio album. Whilst an instrumental version this version musically has all the elements and arrangement in place of the familiar live version performed by the Band Of Gypsys.

The next two tracks are versions of the song Long Hot Summer. The song which formed a part of the Electric Ladyland album is featured here played on an acoustic twelve string with the song literally being written while Jimi plays it and works out the guitar parts and sings the occasional lyric. The second version stops abruptly after just under two minutes.

Hear My Train A Comin' was a song that Hendrix returned to time and again. He can be seen in the Experience movie performing the song on an acoustic guitar. The Experience also worked up an extended version of the song in Olympic Studios in early 1969. The two versions featured here date from April 1968 and are but short snippets of the song with both versions reaching just over one minute in length. The lyrics in the second version are the ones that would eventually feature on the song Voodoo Chile.

The next two tracks are two further versions of Gypsy Eyes and whilst the versions are similar Jimi was obviously working on something and was not happy to rest until he achieved what he heard in his head with the second version being a refinement of the riff that would feature in the finished song

South Saturn Delta was another song written and recorded in early ‘68 although a more polished version does exist with a full band and brass arrangement, this try out is the basic song structure.

Three Little Bears was considered a throw-away track although surfacing on many bootlegs as part of various jams and also the B side of the Christmas single Little Drummer Boy.

The second version of 1983 (A Merman I Should Turn To Be) is half the length of the first version featured on this volume. Like the earlier version this was taped at the Drake Hotel in early 1968.This version suffers a false start before beginning again with more focus, featuring just Hendrix and his electric guitar.

The final piece of music featured in this volume is an Acoustic Jam taped by Jimi at his apartment in Greenwich Village on 1st February 1970. The jam features Jimi on an acoustic guitar and he is accompanied by Mitch Mitchell who is adding percussion by what seems to be slapping his thighs in accompaniment to Jimi's acoustic playing. The tape cuts out abruptly as Jimi stops playing for whatever reason.

Whilst Jimi would spend hours in the recording studio jamming and recording or refining ideas it would seem that he was just as active as a home taper and many of his best material started off from basic home recordings some of which are featured here. What they do show is that Jimi Hendrix was an extremely prolific artist and also an artist one capable of turning even the most basic idea or riff into something rather special.

In The Studio Volume 10

As far as Jimi Hendrix was concerned England was his oyster in 1967. Transplanted from New York where he had been playing club dates to make ends meet in late 1966 Jimi was discovered by Chas Chandler and brought over to the UK in order to develop his career. What many probably didn't realise (including Hendrix himself) was that Jimi's career would become one of the most influential careers of almost anyone in the rock business. Starting with the single Hey Joe in the previous year, 1967 looked like being the year that Jimi Hendrix became a huge star the world over. Hard as it is to believe these days but Jimi Hendrix would record a string of singles and two massively selling studio albums in 1967 as well as playing countless concerts throughout the year including his career-altering appearance at the Monterey Festival.

The music featured on this album consists of previously unreleased and in some cases unheard of alternate takes of some of Jimi's music recorded and released in England during 1967

Hey Joe was of course the debut single recorded at De Lane Lea studios in late ‘66 although, it would appear on the American version of Jimi's debut album Are You Experienced in 1967. This version is obviously a vocal tracking take with Jimi ad-libbing throughout and asking early on for more of his voice to be put into his headphones and the band lowered. A different take from the single musically the intro being a little hesitant and the backing vocals by the Breakaways well to the fore on this mix.

Purple Haze was another hit single and the follow up to Hey Joe. Released early in 1967 the version we have here is an alternate take with Jimi laying down the vocals and the musical backing dropping in and out isolating his vocals which are again ad-libbed at times and somewhat more forceful during this session. Towards the end of the song you can hear a vocal overdub of Jimi repeating the phrase Purple Haze which was dropped from the eventual single release.

Red House was a popular blues song from the Are You Experienced album. This extended and relaxed version was more like the lengthy workout the Experience performed during live concerts rather than the three minutes plus version included on Are You Experienced. The song breaks down twice and Jimi can be heard talking back to Chas Chandler in the control room. Despite this breakdown of the song the band still manage to lengthen this particular take to almost twice the length of the version that originally appeared on Are You Experienced.

Crosstown Traffic featured on Electric Ladyland and the B side of the single drawn from that album All Along The Watchtower. This version is a different mix with the vocals more to the fore than on the final released mix. The backing vocals feature Mitch and Noel.

Takin' Care Of Business is decidedly old time and quite at odds with the material Hendrix and the Experience were recording at the time and they certainly do seem to be enjoying themselves. Recorded at Olympic Studios on 4 May 1967 with Mitch Mitchell & Noel Redding. The sax was recorded at the same session and although not confirmed could even be Brian Jones of the Rolling Stones. The tuba, however, was added in the ‘80s for no apparent reason.

I Don't Live Today was recorded at De Lane Lea Studios 20th February 1967. These are three takes, two instrumental and one with two lead vocal tracks with the versions here being longer than the released version on Are You Experienced. With Jimi, Mitch Mitchell & Noel Redding having recorded the basic track it was decided to add more to the finished master and overdubs were done at Olympic studios.

Wind Cries Mary was the third single to come from The Experience. This was again recorded at the studio the band favoured in the early days, De Lane Lea, in January 1967 and featured the now established line up of Hendrix, Noel Redding and Mitch Mitchell who were well on the way to rock stardom after just their second single and a series of high profile club performances. This is an instrumental backing track although not the final single version.

One Rainy Wish featured on the bands second album Axis Bold As Love. Recorded by The Experience at Olympic on 3 October ‘67, this version is an alternate mix from the released album and features wider stereo panning which is particularly noticeable on the guitar overdubs.

La Poupee Qui Fait Non is a cover of a song written by French song writer and performer Michel Polnareff. Jimi and the Experience had supported French Rock star Johnny Halliday as one of their first live jaunts in October 1966. This cover was recorded in March 1967 possibly at De Lane Lea and was presumably earmarked for inclusion on Are You Experienced. This instrumental was as far as it went however and subsequently this recording has never been officially released. As an aside, Ronnie Wood's ‘60s band The Birds did manage to cover the tune before The Experience.

51st Anniversary came from the sessions that produced the Are You Experienced album. The two versions here feature an almost finished take but different from the released version. The second take is an instrumental version that breaks down a number of times while the band is trying to refine the arrangement.

Can You See Me is another track from Are You Experienced. However the first version featured here is an almost nine minute instrumental version. The original version is a mere two minutes thirty three seconds. The second version is a different take and whilst it sounds like a finished take is again just slightly longer than the released version. The vocal take, however, sounds like a finished take despite Jimi's request to do it one more time.

The final tracks featured in this volume are more out-takes from Are You Experienced sessions. In this instance the first alternate instrumental take of Fire remains true to the original released version. The second take however is an extended instrumental version which suffers a number of breakdowns before the band kick back in and Jimi lets fly with some literally incendiary soloing.

Jimi Hendrix exploded onto the scene in 1967 and through sheer hard work and an amazing run of singles and two breakthrough albums not to mention a serious amount of live work ensured that his career sped off on an elevation that was to prove both exciting and full of highs and lows. This trajectory would ultimately end with Jimi's premature death in September 1970 but 1967 in England was where the journey really began.

Š Jon Kirkman 2006

torrent lineage: manufactured CDs--->wav via EAC--->flac level 8 via flac frontend, sectors aligned--->OINK--->you!
No set list.

Quality: B
Sources (direct from original Taper "Bob In Ohio"): 
AUD: CSB's to Sony DAT -> 2xCDR
SBD: SBD to 25db attenuators to Sony DAT -> 2xCDR

Lineage: 4xCDR -> EAC -> Wavelab(EQ) -> Audition Multitrack -> Wavelab(edit & track split) -> Nero6 -> 2xCDR -> EAC -> Flac frontend (level 8) -> Flac -> Dime

Recorded & Transferred by: "Bob in Ohio"
Matrix Mixing & remaster by: Cuztard Pi


CD 1 (67mins)

01 If 6 Was 9
02 Spanish Castle Magic
03 You Upset Me Baby
04 JB Solo
05 Blues Deluxe
06 Takin' The Hit
07 Mountain Time
08 Wild About You Baby
09 Burning Hell
10 If Heartaches Were Nickels

CD 2 (36mins)

01 Pain And Sorrow
02 Had To Cry Today
03 Heart Of The Sunrise (edit)
04 Starship Trooper (The Wurm)
Source: Audience (15 feet from centre stage, with 12 inch left/right mic separation)

Lineage: Stereo Omni Mics (9V) -> JB3 (@48kHz) -> firewire -> HD -> Wavelab -> WAV -> Flac frontend (level 8) -> Flac

Recorded by: Cuztard Pi
Transferred & Mastered by: Cuztard Pi

WAV File Size: 695MB (Flac) ( 1132MB (wav))

CD1 (65 mins)
Takin' the Hit
Walk In My Shadow
Blues Deluxe
Mountain Time
Bridge To Better Days
New Day Yesterday
Miss You, Hate You
Woke Up Dreaming

CD2 (46 mins)
Slide Solo
The River
Burning Hell
Bass Solo
Had To Cry Today
Heart Of The Sunrise (Edit)
Starship Trooper (The Wurm)
Encore -
Asking Around For You

Artwork , Flac fingerprints & MD5 files are included.
Ticket Price: £12
9th show (out of 12) of the UK tour.

Here is my recording from Joe's truimphal return to Mr Kyps, after last years "First Ever English Show" (18th May 2006) but this time with his new band:
Guitar: Joe Bonamassa
Bass: Mark Epstein
Drums: Bogie Bowles

It was a sell out, packed with a friendly, responsive but sometimes noisy crowd (as usual there is some "chat" evident during the quiet bits). It was a great show and the recording has come out very nice - I don't think you will be disappointed with this one. I score it 9 out of 10 - but hey.. don't flame me if you don't agree, ... & at least keep it friendly!! 

If you have any comments, whether positive or negative, I would love to read them ... don't be a lurker now!

For those interested - basic details of the mastering applied to my original JB3 recording (using Wavelab5) is as follows:
A: EQ/ Multiband Compression/ Limiting (-0.2dB max)/48kHz -> 44.1kHz
B - WAV split to fit on to 2xCDs (with overlap) plus fade in/out
D - Track naming & split





Enjoy - Cuztard Pi - Feb 2006

Reviews of the show taken from Mr Kyps website:

Joe Bonamassa + The Ian Parker Band  

As some of you will know, I have been waxing lyrical about Joe Bonamassa for some time now, and after catching him at his barnstorming inaugural UK gig at Mr Kyps last year, was eagerly awaiting his return. And by the looks of what must have been a sell out crowd on a St. Valentine’s night, I am obviously not the only one who has been captivated by this young blues apostle. Bonamassa’s guitar playing is undeniably sensational and with his powerful gutsy vocals, he is real proof that the blues is alive and rockin’ in the Noughties. His music is a wonderful blend of ingredients, blues-centric with a generous helping of rock and subtle dash of country. The set list revealed a mixture of strong original material interweaved with inspired interpretations of some classic tunes. With its hard rock hook, the opener “Takin’ The Hit” showed Bonamassa to be something of a maverick, pushing at and warping the boundaries of the blues with some scorching power guitar work.

By contrast “Walk In My Shadows” and “Blues Deluxe” took Joe right back to his introspective influences, the latter having him artistically wringing new sounds out of his trusty Les Paul. The excellent “Mountain Time” was, dare I say it, almost commercial and could threaten daytime radio play given chance! His unaccompanied acoustic “Woke Up Dreaming” showcased a finger-picking technique that quiet simply defies belief, whilst the powerful rework of Blind Faith’s “Had To Cry Today” was nothing short of stunning and served as the perfect vehicle with which to further demonstrate his fretboard wizardry. The set was littered with sizzling solos and exquisite bottleneck and just in case I hadn’t already been taken hook line and sinker, there was even a medley incorporating riffs from Yes songs – Marvellous! With Mark Epstein delivering some exceptional bass lines and Bogie Bowles providing quality drum patterns, JB’s accomplices proved to be key contributors to what can only be described as a knockout performance.

Joe Bonamassa’s playing is the stuff legends are made of and if the blues is searching for a new messiah, then look no further. My eternal thanks to Kyp who I know had to pull out all the stops to secure Joe’s return. The result – another blinding show from this blues phenomenon, and although we are only midway through February, my contender for gig of the year. Joe finished by saying “We will never forget Mr Kyps”, lets hope he remembers that quote when he next tours. Finally, a quick mention for Ian Parker and his band who opened the evening’s proceedings. Ian has undoubtedly been gifted with a voice and guitar style that others can only dream of and is headlining material in his own right. With the aid of some fine keyboards and backing vocals from ‘Morg’ Morgan, he delivered a performance of considerable depth and soul that was both emotionally charged and in a way, uniquely personal. All in all, a superb Valentine’s night out for less than the price of a dozen roses!

Review by: Gary Curtis
Joe Bonamassa + The Ian Parker Band  

Quite the reverse to the general Kyp's population, I found the Ian Parker Band a little difficult to get into. Brought up to the maxim that life is too short and not a moment should be wasted, my entire existence has been spent with the arse of my jeans on fire, or at least smouldering - and I like my music to race with the devil inside me! Much of Ian's music is slow gospel/blues, and on the two occasions I have seen him before, I would forever be hoping he'd get into top gear and fly. So this evening, a more laid-back and open-minded approach was adopted, and much to my pleasant surprise, his music finally slipped into my soul. Indeed, the boy sure can play, and 'In The Morning' was quite a fast one.

Ian Parker and Joe Bonamassa were perfectly matched for this double bill of slow, medium, and occasionally up-tempo guitar-wrenching blues. Joe and his band are unbelievably tight in their playing, his bassist and drummer matching his six-stringed mastery - an incredible and finely-honed unit; their individual pedigree quite astounding. Don't ask me for song titles, I can't remember any, it was simply an experience to be embraced into the glory of this guitar virtuoso evening, each and every moment a delight, finding yourself wishing time would stand still. Then, with some razor-sharp slide playing, this man whom it seems few have heard of, stamped his name firmly in the archives of guitar legends.

Perhaps like me, Joe has been cursed with this adrenaline overdrive? Left onstage in the spotlight by his cohorts, he treated us to an exceptional acoustic interlude. And if anyone dared to doubt this man's bountiful abilities, perhaps thinking it no more than amplification and effects pedals, well, he made them eat their hat. Joe completely ripped up the fretboard with a speed of playing almost faster than our astonished senses could comprehend - to which he remarked: "That was a lot more difficult than it looked!" Yes, a rip-roaring evening, and even the slower-paced blues ripped in its own way. Ian Parker is back in early April, and I feel sure the Bonamassa juggernaut will also be returning before too long.

Review by: Alan Burridge. 

Joe Bonamassa + The Ian Parker Band  

How about this for a stupendous midweek line-up! No wonder the sold out signs were up. First up were the Ian Parker Band just back from Europe as part of Ruf's Blues Caravan tour and sounding as good as ever. Ian's soulful vocals and superb guitar work earned a huge ovation from the buzzing crowd. But tonight was all about the eagerly awaited return of the young New York guitar-slinger Joe Bonamassa. About a year ago Joe played his first ever U.K. gig in Kyp's and blew the place apart with his explosive blues/rock show. Joe's short U.K. tour played to full houses, mostly through word of mouth, and earned accolades from the usually hard bitten British blues/rock mafia and press.

Joe brought a new band with him this trip with Mark Epstein on bass and Bogi Bowles on drums and they hit the stage running to a huge cheer from the expectant crowd. Joe's full on, in your face, ear bursting style connected with the worshippers immediately and from then on he could do no wrong. Several new songs from a forthcoming CD were mixed in with some old favourites like Jethro Tull's 'A New Day Yesterday'. An acoustic interlude featured 'Woke Up Dreaming' and Joe switched to slide guitar for a lengthy workout on the superb number 'The River'. The band took a short break during Joe's solo spot and Joe went off for a quick rub-down whilst the bass and drums played some funky riffs.

For one so young (late 20's) Joe has already mastered the art of connecting with his audience by his sheer energy, enthusiasm and showmanship. His soloing throughout the show was explosive, speedy and yes, flashy, but always played with passion, emotion and real feel. Joe's British influences are plain to hear and none more so than in an electrifying and crunching cover of Blind Faith's 'Had To Cry Today' which started the big finale. This was followed by a version of 'Starship Trooper' from those venerable prog-rockers Yes -an unusual choice but it sounded great. This was another triumphant gig for Joe and his new band and a fully deserved success for Kyp and his happy crew.

Review by: Dave Drury 

Joe Bonamassa + The Ian Parker Band  

Two of rock's most talented young guns offered up a St Valentine's Day treat that few in a packed Kyps will forget. Jpe Bonamassa and Ian Parker may both still be under 30, but in three hours of often sublime and breathtaking music, they served up a fascinating history lesson of rock and blues.

Kyp's favourite Ian Parker just keeps getting better every time he appears and his soulful accomplished hour was brilliantly paced, from a brave a cappella 'Power of the Gospel' - in respectful hush - through live staples 'Misfits and Fools', 'She's All Right' and 'Something More'. It was a fearless set from a performer and band whose busy year on the road has shaped and honed them into one of the best on the circuit, epitomised by Ian's remarkable eight-minute guitar solo on 'Awake at Night'. They're back headlining on April 6th and MUST be seen.

Fast turning into one of the Blues' greatest ambassadors, Joe Bonamassa picked up his first guitar when he was four and judging by his ability, he's not put it down since. Fronting a new, but tight backline, this was a set that captivated his fans with some mind-boggling fretwork, none more so than when he strapped on an acoustic for a quite astonishing ten-minute masterclass. Armed with a strong blues voice, Joe showed off all his electric guitar chops throughout a two-hour set, his technical skills and deft touches as impressive on plaintive 'The River' as the power chords on favourites like 'Taking the Hit', 'Burning Hell' and 'Had to Cry Today'. A tremendous double bill that warranted every bit of warmth and appreciation.

Review by: Neal Butterworth (Daily Echo Review)
Disc 1

1. Takin' the Hit 
2. Walk in my Shadows 
3. Blues Deluxe
4. Mountain Time 
5. Bridge to Better Days (*)

Disc 2

1. New Day Yesterday 
2. Miss You Hate You
3. Woke Up Dreaming
4. The River
5. Burning Hell
6. Asking Around for You (*) 

Guitars: Joe Bonamassa 
Bass: Mark Epstein (from Johnny Winter's band)
Drums: Bogie Bowles (from Kenny Wayne Shepherd's band)

(*) Unreleased songs from the upcoming album "You and Me"

Joe is taper friendly, please record his shows and share them freely! 

SP-CMC-8 (Cardoids) -> Battery Box (no bass filter used) -> Sony D-7 DAT -> Maxell HS-4/90s -> Creative Audigy 2 -> CDWAV -> FLAC Level 8 
No editing done to the recording other than track splits 

Taping location: seated, 10 feet from stage, DFC 
Disc 1 (49:58)

1. Takin' The Hit
2. Walk In My Shadow
3. Blues Deluxe
4. Mountain Time
5. Bridge To Better Days 
6. A New Day Yesterday

Disc 2 (42:14)

1. Miss You Hate You
2. Woke Up Dreaming
3. Solo
4. The River
5. Burning Hell
6. Asking Around For You

Disc 1 (76:16)
1. Takin' the Hit 
2. Walk in my Shadows 
3. Blues Deluxe
4. Mountain Time 
5. Bridge to Better 
6. A New Day Yesterday > Spoonful Jam 
7. Miss You/Hate You (Solo Acoustic)
8. Woke Up Dreaming (Solo Acoustic)
9. You Upset Me Baby

Disc 2 (32:45)
1. The River
2. Burning Hell
Encore :
3. Asking Around For You

01. Taking The Hit
02. Walk In My Shadow
03. Blues Deluxe
04. Mountain Time
05. Bridge To Better Days
06. New Day Yesterday > Spoonful Jam

01. Miss You, Hate You - Joe Solo Acoustic
02. Woke Up Dreaming - Joe Solo Acoustic
03. Joe Solo Electric >The River
04. Burning Hell w/ Jon Paris On Harp
05. Encore :Asking Around For You 
Source:		JW mod AKG 460/ck63 (DIN) > Lunatec V2 > 722
Location:	25' from stage ~ 6' Left of Center ~ 7' High
Transfer:	722 > Firewire > SoundForge 8.0 > CD Wave 1.94.8
Lineage:	WAV 24bit/48kHz > WAV 16bit/44.1khz > FLAC Level 6
Editing:	SoundForge: Merged Split Files; Normalized to 0db
		CD Wave: Tracking & FLAC Conversions (level 6)
		SoundForge: Resampled to 44.1kHz w/ Anti Alias, Interpol accuracy 2
		Dither to 16bit: Highpass Triangular w/ Noise Shaping: Highpass Contour

Taped and Transferred by Mikey Jones (terrapinj AT gmail.com)

One Set


01  Taking the Hit
02  Walk in My Shadows
03  Blues Deluxe
04  Mountain Time
05  Bridge to Better Days >
06  New Day Yesterday
07  Miss You Hate You
08  Woke Up Dreaming


01  The River
02  Burning Hell

03  crowd
04  You Upset Me*
05  Asking Around for You*

(*) w/ Carl Verheyen on Guitar
SP-CMC-8 (stand 9') > SP Battery Box (no bass filter) > Sony D-7 > Maxell HS-4/90 > Sony D-7 > 7 Pin 
>Creative Audigy 2 > CDWAV > Cool Edit Pro 2.0 > FLAC Level 8 > You  

Taping location: 10' from right main

Guitars & lead vocals: Joe Bonamassa 
Bass & backing vocals: Mark Epstein
Drums: Bogie Bowles

Disc 1: 
1. Takin' The Hit
2. Walk In My Shadows
3. Blues Deluxe
4. Mountain Time
5. Bridge to Better Days
6. New Day Yesterday/Spoonful
7. So Many Roads

Disc 2: 
1. Miss You, Hate You (acoustic)
2. Woke Up Dreaming (acoustic)
3. The River
4. Burning Hell

5. Asking Around For You
6. Starship Trooper (III. Wurm)

Very difficult venue to record in. If I was to be center during the recording, 
I'd be right on top of the bar the way the venue is layed out. Thus, I picked
to position myself about 10' from the right main with the sub on the floor near
the left main. Stand was set on a table so it wouldn't get knocked down. The
club was sold to capacity, 225.

Somehow during the first song, the 1/8" stereo jack came 1/2 way unplugged from the
recorder and the right channel was lost from about 55:73 - 2:44. I used Cool
Edit to copy/paste the salvagable left channel into the empty right channel,
basically mono, but listenable.  I'd rather do this than not release the full show
or do a fade-out/fade-in.

Joe is taper friendly, please record his shows and share them freely! 
Source: Neumann ak40 (ORTF) > lc3 > km100 > v3 (analog out) > 722 @ 24/96
Location: FOB, DFC, 30' from stage
Transfer: 722 > firewire > wavelab (fades, tracking, dither, resample) > flac frontend

Tape and Transfer by Brad Wolf

d1t01. Taking the Hit
d1t02. Walk In My Shadows
d1t03. Blues Deluxe
d1t04. Mountain Time
d1t05. Bridge to Better Days
d1t06. New Day Yesterday >
d1t07. Spoonful

d2t01. So Many Roads
d2t02. Woke Up Dreaming 
d2t03. The River
d2t04. Burning Hell
d2t05. Just Got Paid (Ode to Texas)
d2t06. Asking Around for You
Disc 1 (58:47)

1. Takin The Hit
2. Walk In My Shadows
3. Blues Deluxe
4. Mountain Time
5. Bridge To Better Days
6. A New Day Yesterday >
7. Spoonful
8. So Many Roads

Disc 2 (49:48)

1. Miss You, Hate You 
2. Woke Up Dreaming 
3. The River
4. Burning Hell
5. Applause
6. If Heartaches Were Nickels 
7. Just Got Paid
Disc 1 (63:40)
01. Just Got Paid
02. Walk In My Shadow
03. So Many Roads
04. Mountain Time
05. Bridge To Better Days
06. New Day Yesterday
07. Miss You/Hate You - Joe Solo Acoustic
08. Woke Up Dreaming - Joe Solo Acoustic

Disc 2 (40:40)
01. The River
02. Burning Hell
Encores :
03. Asking Around For You
04. Superstition *

*W/Carmine Appice On Drums / No Bogie
*W/Jim Kuhns On Vocals 

neumann km 184 mics > Apogee Mini Me > Coaxial Out > Oade 7 Pin > Sony Pcm 1
Disc 1 [51'43"]
01. Takin' the Hit
02. Walk in my Shadows
03. Blues Deluxe
04. Mountain Time
05. Bridge to Better Days
06. Burning Hell

Disc 2 [45'59"]
01. Intro
02. Miss You, Hate You
03. Wake up Dreaming
04. ?
05. Dazed and Confused + Moby Dick
06. Jam
07. ?

Mics: 2x DPA4061 - Record: PCM on compact flash card by Maycom HH2nd
Dynamic Eqlz: Waves C4 - Photo: Canon EOS 30D
Tape’n’pics by Capaldi - Mastered at J-Plane Records - N° JP 101 - 2007



DISC 1 :

DISC 2 :
                 ENCORES :
Source: Audience (20 feet from centre stage, with 16 inch left/right mic separation) 
Lineage: Stereo Omni Mics (Panasonic WM-61A elements) & battery box (9V) -> JB3 (@44.1kHz) 
-> firewire -> HD -> Wavelab5 -> *.wav -> Foobar 2000 (level 8) -> *.flac -> Dime 

Recorded by: Cuztard Pi 
Transferred & Mastered by: Cuztard Pi 

Title: A "Glorious" Return To Mr Kyps, Poole, UK - Friday 3rd August 2007

File size: WAV=1.02GB; FLAC=618MB

Disc 1 (61mins) 
01 Bridge To Better Days
02 Walk in My Shadow
03 'Blue Tea'		*
04 'Blue Summer'	*
05 Mountain Time
06 Another Kind of Love
07 Sloe Gin
08 High Water Every Where
09 If Heartaches Were Nickels
10 Woke Up Dreaming

Disc 2 (43mins)
11 Django
12 Just Got Paid
13 Dazed and Confused
14 Bogie's Drum Solo
15 Just Got Paid (reprise)
   Encore 1
16 Asking Around For You
17 Los Endos
   Encore 2
18 Miss You, Hate You

* Made-up title

flac tags & fingerprints & MD5 files are included. 


Ticket Price: £15.00



Band line-up:
Joe Bonamassa - Guitar/L.Vocals
Bogie Bowles - Drums
Carmin Rojas - Bass
Rick Melick - Keyboards/B.Vocals

Finally Joe returns to Mr Kyps (where he made his English debut in 2005). A new band (except for Bogie on Drums) and promoing a new record out soon: "Sloe Gin". Check out the gig reviews care of Mr Kyps' web-site below. 

If you liked my last 2 recordings of Joe @ Mr Kyps from 2005 & 2006 you will also enjoy this one. Another GREAT SHOW!! Highlight for me was "Blue Tea" (Led Zep's 'Tea for One' with 'Blues Deluxe' lyrics)

For those interested - basic details of the mastering applied to my original JB3 recording (using Wavelab5) are as follows: 
A: EQ / Multiband Compression / Limiting (-0.2dB max) 
B: WAVs edited to fit on to 2xCDRs (with overlap) plus fade in/out 
C: track split 

A note for any finicky audiophiles out there: 
Mastering has been done to polish the raw master recording with the aim of enhancing the listening experience. If you prefer virgin recordings, unspoiled by any such amateur 'dabbling' then do not join in on this one. Be warned now ... I don't want any whinging! ;-) 

But for the rest of you Dimers I recommend that you GO FOR THIS ONE ... you won't be disappointed! 
I score the sound quality as 9 out of 10 ( = A ); 
but hey! ... don't flame me if you don't agree ... & at least keep it friendly ;-) 

If you have any comments, whether positive, negative or otherwise, I would love to read them ... don't be a lurker!  




Enjoy - Cuztard Pi - August 2007 ..... PLAY IT LOUD!!!


Reviews from Mr Kyps website:


Friday 03-08-2007 
Joe Bonamassa + Martin Harley 

Whats the best way to spend a weeks holiday ? I know a week down in deepest west Dorset with loads of great walks, beahes and beer plus three Joe Bonamassa gigs in 4 days !!! The first on Tuesday was a last minute but welcome addition to his short UK tour (it just goes to show how much he likes coming to Kyps), I drove up early from Bridport to grab a good spot and managed to secure front row left bang in front of Joe's rig, magic. Bogie is on first hammering out the intro to 'Bridge To Better Days' then Joe, Carmine and Rick enter to take up their positions, Joe shouts 1,2,3,4 and we're off, Blues Rock heaven returns to Kyps. Next up is 'Walk In My Shadows' followed by 'So Many Roads' where just as he hits the solo the whole back line of amps plunges into silence. Joe makes his excuses and leaves the stage while the roadies run about trying to fix the problem, after about five minutes he's back and the band fall into exactly where they left off and he nearly brings the roof down with the intensisty of his playing, stunning.

Next Joe forsakes his trusty Le Paul for his famous Gigalotti which he lost for a couple of months after his last European tour but has now been safely returned and amazes us with 'Mountain Time' one of my favourites. Next we're onto two new songs from his new album the first I don't know the title of but the second is the title track 'Sloe Gin' an instant classic if ever there was one, a slow brooding number which builds to a tremendous intrumental climax. He encourages us to buy it when it's released at the end of August, I know I shall. It's now time to pick up the acoustic and we're treated to a new version of 'High Water Everywhere' from his last album 'You And Me' this is one to get the feet marching and the whole crowd appears to be swaying in time, brilliant. When the amps went off someone shouted 'Miss You Hate You' and he obliges, singing on his own while the band take a well earned rest, this is followed by the crowd pleasing' Woke Up Dreaming' a master class of dexterity and speed my God i think I saw smoke coming off the fret board ! this is followed by 'Django' a Jeff Beck style intrumental played on a Fender Strat with loads of note bending and whammy bar delights, where do we go after that ? It has to be the awsome 'ZZ Topp number 'Just Got Paid' which mutates into the instrumental passage from 'Dazed And Confused' by Led Zeppelin, and if that's not enough we have a powehouse drum solo from Bogie, a flurry of sticks, sweat and pounding tom tom's which brings the set to an end.

After a couple of minutes of the crowd baying for more they come back to encore with 'Asking Around For You' a lovely slow blues on which Joe plays his BB King custom and at times, if you closed your eyes it could well of been BB the tone was that close. The last couple of minutes are taken up with an instrumental passage on his Les Paul and then sad to say it'a all over, one hell of a night draws to a close. So off home with a Joe CD blasting in the car for company, one down two to go. 

Thursday and a 80 mile drive down to Tavistock, I know this has nothing to do with Kyps but I thought I would just give you a quick run down of the set list which, in fact is the same as Tuesday except 'Miss You Hate You' is replaced by an acoustic version of 'If Heartaches Were Nickels'. The highlights were 'So Many Roads', blues wailing at it's best and an absolutley stonking drum solo from Bogie, what a drummer. After the show Bogie and Carmine come down and have a chat, what a couple of nice fellers, and later Joe joins them and signs a few CD's.

Oh I almost forgot I was stage centre just behind Mike a rabid Joe fan from Kent who for some obscure reason between the support and Joe taking the stage decided to strip off his clothes and don a Batman outfit !!! For more information go to Joe's website and read Mike's review on the forum, he's a nutter in the nicest possible way of course. 

Friday, the last show and first for my 14 year old daughter, 'Does he just play guitar all night ?', 'Will I like it ?' she's not sure if she will like boring old guitar music, boy is she in for a surprise. We arrive at 8.15 and make our way to the front about four deep from the stage centre and settle in for the night, Martin Harley comes on and what a revelation he is, what a cracking start to the evening, a fantastic slide, finger picking style and a good strong voice, look out for his return.

Then onto the main event, a sell out, sweating, hyped up crowd, perfect. The show starts up as before with 'Bridge To Better Days' and 'Walk In My Shadows' then takes a strange twist, the band play the song 'Tea For One' off of You And Me but Joe sings the words to 'Blues De Luxe' and strangley it works like a new song altogether, help Joe's playing with our minds. The show progresses as before and he leaves in 'If Heartaches Were Nickels' as the night before, but then we are in for another treat, I have seen Joe a number of times now but I have never heard such an intense version of 'Woke Up Dreaming', even mad Mike (remember him 'Batman from Tavistock') who has seen more shows than anyone is raving after the show, Joe's on fire. It's obvious the band are enjoying themselves as they all look at each laughing in a number of songs, this is turning into a special night.

''Django' and 'Just Got Paid' follow and then the band leaves the stage as the crowd go wild. They come back to encore 'Asking Around For You', Rick starts on his own as the band amble back on stage and pick up their instruments, in the solo Joe brings the whole band down to a whisper as he sustains a note which is only just audable and Shusshs anyone who dares to make a noise, you could hear a pin drop, another magic moment, this time he also allows Carmine a solo on bass who mugs it up and makes Joe crack up so much that he can hardly finish the song for laughing.

The last surprise for the night is Joe comes back for another song which after the show he admits he hardly ever does, this was a solo acoustic version of 'Miss You Hate You' after which he throws his guitar strap into the crowd and leaves the stage to a wall of cheering and clapping. This was one special hair tingling night, he saved the best to last. If there is a better guitar player out there playing the clubs I have yet to see him, Joe is the king, move over Clapton there is a new God on the scene. By the way my daughter is converted, she got one of Bogie's sticks an autograoh form Joe and a picture with him to hang on her wall, not only is he the best he's the nicest guy you could wish to meet. 

Review by: John Cherry 


Friday 03-08-2007 
Joe Bonamassa + Martin Harley 

The atmosphere was electric amongst the sell-out audience at Mr. Kyps last Friday night, as they eagerly awaited the return of LA blues sensation Joe Bonamassa. As the excitement built up, support came from the now extremely popular acoustic artist Martin Harley, whose expertly handled slide guitar work and catchy blues numbers wowed the impatient crowd. Despite doing a now rare performance without his band, Harley proved that he is just as competent as a solo artist, as his songs projected all their power and energy even without their usual backing. 

As Bonamassa and his band came onstage to a storming reception, the set began with a rockier number before steadily sliding down into some classic blues. This winding up and down of the pace of the set is something which continued throughout the night, always with Bonamassa’s incredible guitar solos carrying the mood and with the keyboards providing some nice variation. 

Although his style was essentially blues, and perhaps best summed up by the Led Zeppelin songs that he covered towards the end of the evening, the variation between fast, rock-style riffs, epic sounding love songs and Stevie Ray Vaughan style blues tracks mean that Bonamassa can reach out to a wider audience than many of the other artists of his genre. His skill as a guitarist means that he can not only pull off this variation, but use it to great effect, confirming his popularity with the audience and assuring him of many sell out Mr. Kyps shows in the future.

Review by: Lisa Willmot
Bob & Ray
Like She Was a Hammer
Skin and Teeth
Want Too Much
Flower Girl
Great Lake
Curt Flood
Ohio Air Show Plane Crash

Trade History:
vinelist: offered 2007-08-04
joe talking
This Afternoon
false start
Tiny Voices
Meanest Flower
joe talking
Dirty Magazine
Edgar Bergen
joe talking
Early and Late shows

Transfered from 15ips  1/2 track reels Revox A-77 > Panasonic SV-250 DAT(internal A/D) > 
Panasonic 3700 pybck > HHB stand alone CD burner(internal sample rate conversion) > 
Apple G3 (Pro Tools editing) > Roxio Jam CDr > Xact


01 Drum Intro / One More Time
02 Wild West
03 Right And Wrong
04 You Can't Get what You Want
05 (It's A) Big World
06 Home Town
07 Chinatown (cut *)
08 Another World
09 On Your Radio


10 Drum Intro (cut *) / Shanghai Sky
11 Fifty Dollar Love Affair
12 Target
13 Be My Number Two
14 Breaking Us In Two
15 Steppin' Out


16 Drum Intro / Survival (Band Intro. 1)
17 Soul Kiss (cut *)
18 It's Different For Girls
19 The Jet Set
20 Monday Papers
21 Tonight And Forever (cut *)
22 Drum Intro / Jack You're Dead 
23 What's The Use Of Getting Sober ?
24 Jumpin' Jive
25 Band Introduction 2
26 I'm The Man
27 Drum Intro / Man In The Street


Sony MZ-R55 w/ Core Audio Bi-aural mics --> Cool Edit Pro --> FLAC frontend, encoded Level 8 

This recording captures the first of two nights the Joe Jackson Trio played New York City's Town Hall Theater. Sitting in Row Q, seat 17 I had a decent spot to record this gig where the levels were fairly good and the crowd was well behaved. Enjoy!


Disc 1:

Steppin' Out
It's Different for Girls
Too Tough *
Citizen Sane *
Another World
Sunglasses in the Rain *
On Your Radio

Disc 2:

Love at First Light
Drunk Song *
Invisible Man *
Awkward Age
Take it Like a Man
You Can't Get What You Want (Till You Know What You Want)
One More Time


Inbetweenies (Ian Dury Cover)
Is She Really Going Out With Him
Slow Song

(*) new song
Sony MZ-R55 w/ Core Audio Bi-aural mics -> Cool Edit Pro -> FLAC frontend, encoded Level 8 

This recording captures the second of two nights the Joe Jackson Trio played New York City's Town Hall Theater. Sitting in Row E, seat 5 I was closer to the band, but the vibe this night was decidedly different; more talkative, less civil and at times very strange. The presence of a security guard, a disgruntled, drunk or crazy concert-goer who says "You're in my seats" to me twice forcing a response and some distortion during this song mar what would have otherwise been a decent recording. In any case, enjoy!


Disc 1: 

Steppin' Out 
It's Different for Girls 
Too Tough * 
Citizen Sane * 
Another World 
Goin' Downtown
Rush Across the Road *
On Your Radio 

Disc 2: 

Intro to Real Men
Real Men
Love at First Light 
Invisible Man * 
Dirty Martini
Take it Like a Man 
You Can't Get What You Want (Till You Know What You Want) 
One More Time 


Dirty Love (Frank Zappa Cover) 
Is She Really Going Out With Him 
Slow Song
1973-01-01 unspecified venue, Arlington, TX

Tend My Garden
Rocky Mountain Way
The Bomber
Turn to Stone (Outro)

1981-10-11 Reunion Arena, Dallas, TX

In The City
Life Of Illusions
Funk 49
Boat Weirdos
Rocky Mountain Way
All Night Long
All Night Long Reprise
Get Back
taper : Joebeacon

at833 mics > sp-spsb-10 > sony pcm1

disc 1 : 
01-a life of illusion
02-indian summer
03-pretty maids all in a row
04-welcome to the club
05-ordinary average guy
06-in the city
08-at the station

disc2 :
01-the bomber
02-walk away
03-turn to stone
04-funk #49
05-life's been good
       encore :
06-rocky mountain way 
John Abercrombie - guitar
Miroslav Vitous - bass

1. Days of Wine and Roses (11:02)
2. I Hear a Rhapsody (11:31)
3. Alice in Wonderland (10:37)
4. Gloria's Steps (Scott La Faro) 4:50
5. Stella By Starlight > blues improvisation (18:41)
6. I Fall In Love Too Easily (6:53)

TT: 61:36

Sound: A
Source: RSI 2 (Rete Due) "Concerto Jazz" / 2006-06-11
Lineage: FM > Minidisc > analogue to HD > GoldWave > FLAC (8,asb,verify)

FM tracks:
- intro (5:03)
- following #1 (0:21)
- following #2 (1:05)
- following #4 (1:10)
- outro (1:05)
pre-FM SBD > ? > CD-R > cdparanoia III 9.8 > Peak 4 > SHNTool 1.2.3 > Shorten 3.5.2 > SHN

1. Bumabia > The Juggler's Etude 22:58
2. Beneath an Evening Sky 06:02
3. Half Past Two > Late Night Passenger 17:52
4. Timeless 09:16
5. Waterwheel 08:07
6. Nardis 05:58

TT: 1:10:13
Sound: A
Show: A
1. [22:08] Improvisation/The Juggler's Etude
2. [07:20] Beneath an Evening Sky
3. [15:47] Improvisations

1. [22:18] Untitled/Beautiful Love
2. [10:20] Timeless
3. [05:19]

FM > Cassette (2nd gen.) > Nakamichi DR-1 > Audiophile2496 > Soundforge 7.0 > WAVE > FLAC 1.7.1 (sector align mode)
1. Bass Desires (Erskine) 11:50
2. Hippityville (Abercrombie) 13:04
3. Ralph's Piano Waltz (Abercrombie) 13:01
4. Alice In Wonderland (Fain/Hilliard) 8:57

1. Night (Abercrombie) 9:55
2. Four On One (Abercrombie) 16:29
3. Stinger Tune * (Abercrombie) 4:38
4. Bessie's Blues (Coltrane) 10:51

John Abercrombie [g]
Michael Brecker [ts]
Marc Johnson [b]
Peter Erskine [d]
CDr > EAC > Flac FrontEnd

John Abercrombie - guitar
Dan Wall - organ
Adam Nussbaum - drums

Playing time: d1 - 52:13 & d2 - 41:14 
FM (BBC Radio 3) > Denon ST-SE500 > DMX6 fire > CEP > .wav > CDWave > MKW > .shn

01. On The Loose (18:09)
02. Soundtrack (14:07)
03. Convolution (17:20)

John Abercrombie ­ electric guitar
Mark Feldman ­ violin
Joey Baron ­ drums
Marc Johnson ­ acoustic bass

Broadcast 19th July 2002

Only processing done was fades at the beginning and end of the recording.

Ian McKay
21st July 2002
john abercrombie(g) 
dave holland(b) 
jack dejohnette(dr,p) 
fm flac

01 'm'(abercrombie)			10:59
02 may dance (holland)			26:10
03 back woods song (holland)		25:46
04 silver hollow (dejohnette) -cut-	09:02
01 blues in A b 			27:29
02 four winds				16:14
03 jumpin' in				22:21
04 ralph's piano waltz			07:53

SOURCE: FM>unknown lineage>trade>CD>EAC Secure Modus>Flac Frontend Level 6>Flac
SOUND: A- (few FM hiss present,  listen to mp3 sample)

John Abercrombie: el-guitar
Dave Holland: bass, el-bass
Jack DeJohnette: drums, piano

1. Short Cut 07.50
2. Calypso Falto 15.03
3. Silver Hollow 13.14
4. M. Times (Dave Holland) 14.57
5. ….Blues (T. Monk) 14.36

John Abercrombie
CDr > EAC > Flac FrontEnd 

"Gateway" with Dave Holland/bass and Jack DeJohnette/drums.

Playing time 77:03 
SBD>???>CDR>EAC>FLAC6(w/sector align)

1) Jam I
2) Jam II

John Abercrombie          -g
Jack DeJohnette           -dr,p
Nana Vasconcelos          -perc
Collin Walcott            -tablas, sitar
John Abercrombie - guitar
Marc Johnson - bass
Peter Erskine - drums

1. Free Again (Abercrombie-Johnson-Erskine)
   > Love Theme from "Spartacus" (Alex North) 17:28
2. Beautiful Love (Victor Young) 10:11
3. Big Music (John Abercrombie) 11:23
4. Announcement JA (0:20)
5. Nardis (Bill Evans-Miles Davis) 8:59
6. Prelude (John Abercrombie) 3:43
7. Solar (Miles Davis) 7:09
8. Four On One (John Abercrombie) > Band Intros JA (7:28)
9. Announcement JA (1:10)
10. My Foolish Heart (Victor Young-Ned Washington) 1:51 [inc, cut]

TT: 69:49

Sound: A/A-
Rec. eng.: Martin Pearson
Prod. by DRS
Source: Espace 2 "JazzZ" / 2005-11-28
Lineage: FM > minidisc > analogue to HD > GoldWave > FLAC (8,asb,verify)
Fireside (Bruninghaus)  15:22
Baba (Gurtu)  11:58
Timeless (Abercrombie)  14:21
Minimal 2 (Bruninghaus) 14:35
Raga Rag (Bruninghaus)  14:25

total: 70:42

John Abercrombie - Guitar
Rainer Bruninghaus - Piano
Trilok Gurtu - Percussion

LINEAGE: FM > ? > CD > EAC > FLAC (8) > Dime

Setlists from this show mention a 6th track - Four On One (Abercrombie) - but this is either missing or track 5 and 6 must be a medley.
sound: pretty excellent with slight FM hiss in quiter parts.
mean old world
walkin' blues
early in the morning
deeper shade of blue
key to the highway
long distance call
i feel like my time ain't long
worried about my baby
come on in my kitchen
hitchhikin' woman - take 1
hitchhikin' woman - take 2
shake em on down
talk to my baby
goin to louisiana (mojo hand)
boom boom boom
John campbell, solo studio recording.Little is known regarding where or even when it was recorded.
John shared a copy with friends in the early 1980's.It sounds eerily similar to the songs he recorded on the tyler sessions. So, it may have been recorded at or around the same time period.
John recorded this version directly from the master tapes to cassette.
He told friends that he was not pleased with the results and never wanted it released. Luckily, this cassette was saved because John couldn't have been more wrong about its quality.
This is great music and great Blues. John was truly a master and on this CD he demonstrates a softer side of his musical side.
Elektra records made an inhouse vhs tape of fairly low quality video, and average to decent quality sound.
The purpose of the video is unsure, BUT a copy was given to a Campbell Family member after Johns Death.
The Video was then put onto a dvd and copied to cdr from there.
Elektra tribute video (unknown generation) > vhs copy >dvd >cd wav>dbpoweramp>flac

The Tracks:

mississippi delta blues benefit
under acme
march 25 1988

1.  bluebird blues 		04.46
2.  going to dallas 		03.42
3.  white lightnin		04.06
4.  sunnyland train		02.40

Montreaux jazz festival
Geneva Switzerland
July 9 1992
(with band)

5.  devil in my closet 		08.20
6.  voodoo edge 		04.55
7.  take me down 		08.32

The shocking club	
milan, italy 
31 march 1993 
(with band)

8.  ain't afraid of midnight 	06.48 
(skips a little partway through, present on source dvd (worse on the dvd, slightly improved for this cd))

9.  person to person 		09.30
10. interview...		01.59
11. saddle up my pony 		07.20
12. interview... 		01.41
13. down in the hole		05.44
14. when the levee breaks	07.02
The Red Planet AKA Miles Mode
(Man Made Miles)
My Favorite Things (Stuff I'm Partial To)
Mr. P.C.(Mr. RCM, Jr)
Source: MG210 > Korg MR-1000 > balanced analog out > JB3 (line-in, -3db, 16bit/48kHz)
Post: WaveLab (Edit/Fades/Resample to 16/44.1) > CDWave (Tracking) > FLAC lvl 8 >
Traders Little Helper (FLAC verification/ Shntool -len/ ffp gen.)

Thanks to Kieth from Team Richmond for the patch!
Recorded & Edited by rowjimmy (rowjimmy2 AT gmail DOT com)

Total Time 96:57.09

Disc 1
01 Intro/Tuning
02 When The Levee Breaks*
03 Good Times Bad Times >
04 Bass Solo > Ramble On Jam >
05 Inner City Blues (Makes Me Wanna Holler)**
06 Drums Jam >
07 Dazed & Confused***

Disc 2
01 Banter
02 Superstitious^ >
03 Them Changes^ > 
04 It's Your Thing^~
05 Introductions

John Paul Jones - bass
Ben Harper - slide guitar & vocals
Ahmir "?uestlove" Thompson - drums

* w/ Michael Ward (Ben Harper) on Bass & John Paul Jones on second lap steel guitar
** Cissy Strut teases
***Immigrant Song teases
^with Kirk Douglas (The Roots) on guitar & vocals
~I Wanna Take You Higher teases

Set is dated June 16 as it began after 12am.
Inner City Blues is by Marvin Gaye
Superstitious is by Stevie Wonder
Them Changes is by Buddy Miles (performed by Band of Gypsies)
It's Your Thing is by The Isley Brothers

Tracked for CD-R but, both discs may be joined seamlessly for longer media.

Excellent Recording and Show. Soundboard, FM or Excellent Audience ? (You Decide) No Details.

Some slight speed fluctuations noticeable on guitar breaks, probably
due to early cassette wow and flutter.

Retracked, disc transitions (Soundforge 8) and Artwork by JTT

Disc One

Disc Two
Set I
Spanish Pipedream
Often Is A Word I Seldom Use
Angel From Montgomery
Fish And Whistle
Crooked Piece Of Time
Blue Umbrella
Illegal Smile
Sabu Visits The Twin Cities Alone
The Bottomless Lake
Sam Stone
That's The Way The World Goes Round
There She Goes
I Had A Dream
If You Don't Want My Love
Find Another Man
Band Intro/pretty Good
Bruised Orange
Set II
Hello In There
Grandpa Was A Carpenter
Ballad Of A Teenage Queen
Please Don't Bury Me
Sleepy-eyed Boy
Treat Me Nice
Sailin' Around
Mexican Home
How Lucky
I'm Not That Good At Goodbye
Saddle In The Rain
No Details, Retracked and Artwork by JTT

Disc One
01.  Intro

Disc Two
01.  Intro
04.  Band Introductions / PRETTY GOOD
08.  (Edit) PARADISE
Grandpa Was a Carpenter
Donald and Lydia
Aw Heck
Fish and Whistle
The Oldest Baby in the World
Spanish Pipedream
Illegal Smile
Bottomless Lake
Dear Abby
Sam Stone
That's the Way the World Goes 'Round
Hello in There
Please Don't Bury Me
Spanish Pipedream
Your Flag Decal Won't Get You into Heaven Anymore
Six O'Clock News
Army Fight Story
Army Inspection Story
Fish and Whistle
Grandpa Story
Grandpa Was a Carpenter
I'm Just Getting By
All the Best
Angel from Montgomery
Jesus: The Missing Years
Long Monday
Donald and Lydia
Dear Abby
That's the Way the World Goes 'Round/Happy Enchilada

Sam Stone
Bear Creek
That's Alright By Me
Ain't Hurtin' Nobody
Band Intro
The Sins of Mephisto
Hello in There
Lake Marie
Sweet Revenge
Some Humans Ain't Human
Disc 1
1. Spanish Pipedream
2. Your Flag Decal Won't Get You Into Heaven Anymore
3. Six O' Clock News
4. Souvenirs
5. Fish And Whistle
6. Glory Of True Love
7. Taking A Walk
8. All The Best
9. Angel From Montgomery
10. Bear Creek Blues

Disc 2
1. She Is My Everything
2. Ain't Hurtin' Nobody
3. Some Humans Ain't Human
4. Lake Marie
5. Paradise

Source: Neumann u89i>Lunatec V3>Tascam DAP1

Transfer: Sony D8>Audiophile 24/96>Wave Lab>CD Wav>Soundforge 7.0>FLAC Frontend 1.7.1
Mics hypercardioid/ORTF
Fades at beginning and end of set applied by Soundforge 7.0
Taped by Igor Stravinsky
Transferred by Trey Woodruff
Tracked/Seeded by Nick Graham
Scofield Lovano Holland Foster (ScoLoHoFo)

01. O (Letter) [9:28]
02. The Winding Way [17:09]
03. Right About Now [11:40]
04. Shorter Form [9:08]
05. In Your Arms [7:26]
06. New Amsterdam [11:55]
07. Oh, I See [5:49]

John Scofield - guitar
Joe Lovano - saxophone
Dave Holland - double-bass
Al Foster - drums

Source Lineage: Soundboard > ReelToReel > DAT > 1st copy > EAC > WAVE > CDR
My Lineage: CDR > EAC > WAVE > FLAC

A SwissBird , SimplexSimplicissimus & superMAX releases info site :

Thanks to Carsten.
Set I (Disc 1)

1. Solo Improvisation (Surman)
2. Would It Be Me? (Surman/Krog)
3. Takk (Krog)
4. In Candlelight (Surman)
5. Wild Bird (Surman/Krog)
6. Running Sands (Surman)
7. Inside One and Outside Another (Surman)

Set II (Disc 2)

1. Bath Configurations, Part One (Surman)
2. Bath Configurations, Part Two (Surman)
3. Jam No. 1 (Surman)
4. Jam No. 2 (Surman)
5. Happy Birthday
John Surman: baritone saxophone, soprano saxophone, bass clarinet
Disc 1, tracks [1]-[5] with Karin Krog: vocals, Vigleik Storaas: piano, 
Terje Rypdal: guitar; 
tracks [6]-[8] with John Taylor: piano, Chris Lawrence: bass, John Marshall: drums

Disc 2, tracks [1]-[5] with: The Brass Project conducted by John Warren; 
tracks [3]-[5] with The Brass Project and Karin Krog, Vigleik Storaas, 
Terje Rypdal, John Taylor, Chris Lawrence and John Marshall.

FM recording
1. [Unknown title]                     11:13
2. Across the Bridge (Line 1, Part 2)  17:02
3. Promising Horizons > Number 6       19:51
4. Radio outro                         00:16

John Surman: saxophones, John Taylor: piano, Chris Lawrence: bass, John Marshall: drums

FM recording
John Taylor piano
John Abercrombie guitar
Mark Feldman violin
Chris Laurence bass

Excuse My Shoes (John Abercrombie)  14:42
Encore (?) (John Taylor?) 11:56
Ambleside (John Taylor) 12:31
Father Demo Square (Mark Feldman)  7:27
announcement  1:17
Jack and Betty (John Abercrombie)  7:15
(TT = 55:12)

fm > ? > cdr > eac (secure) > flac > dime
BBC Radio 3 Saturday 5th June 2004, 16:00-17:00
KammerChor Heddesheim / Under the Direction of Frank Aranowski

Recording by T.RayBullard(raytheapostle@yahoo.com)
Source:Gefell m300/Gefell M930/Schoeps MK2S/AKG 426B>>>DAV BG-2(x2(4 ch preamps))>>>>Mytek Stereo 192(x4)>>>Zaxcom Deva IV HD Recorder
Format:   16 bit, 44.1khz
Transfer: Mirrored to the Deva internal DVD-Ram Drive/loaded DVD-Ram discs in my DAWs DVD Drive/Drag/Drop into PC Hard Drive>>Samplitude Pro v8.31>>Flac Frontend
Edits: All edits were done using Samplitude Professional V8.31
       1.)EQ/Low Cut to prevent LF Buildup
       2.)Cuts to remove tuning sections
       3.)Compressor/Limiter on the Stereo Mixdown as follows:1.17-to-1 compression ratio, -.3dB peak limiting,threshhold@-30, reaction at Peak, look ahead  1200 samples
1.)Gefell 930s ORTF Stage Right 6.5' high and about 15' from source(Woodwinds)
2.)Gefell M200 ORTF Stage Right 6.5' high and about 15' from source(Strings)
3.)Schoeps CMC62S OSS/Jecklin Disc about 13' High and 10' from source(Choir)
4.)AKG c426B (Crossed Hypercardiods) about 6' up and 10' from Source(Solists)

The Orchestra had about 50 members, the Choir 40. In addition, 4 soloists(Soprano, Alto, Tenor, Bass).

A typical Orchestra tunes to A=440 cycles per second. This conductors vision called for a tuning of A=446  to give the piece a lighter, more brilliant feel. 

Track Listing

1.)The Representation of Chaos

2.)In the Beginning

3.)Now Vanish Before the holy beams

4.)And God made the firmament

5.)The marv'lous work beholds amaz'd

6.)And God said:  Let the Waters

7.)Rolling in foaming billows

8.)And God said: Let the earth bring forth grass

9.)With Verdure Clad

10.)And the heavenly host proclaimed

11.)Awake the harp

12.)And God said: Let there be Lights

13.)In Splendor bright is rising now

14.)The heavens are telling


15.)And God said: Let the waters bring forth

16.)On mighty pens

17.)And God created great whales

18.)And the angels struck their immortal harps

19.)Most beautyful appear

20.)The Lord is great

21.)And God said: Let the earth bring forth the living creature

22.)Strait opening her fertile womb

23.)Now heav'n in fullest glory shone

24.)And God created man

25.)In native worth and honour clad

26.)And God saw ev'ry thing

27.)Achieved is the glorious work

28.)On thee each living soul awaits

29.)Achieved is the glorious work


30.)In rosy mantle

31.)By thee with bliss o bounteous Lord

32.)Our duty we performed now

33.)Graceful consort! At thy side

34.)O happy pair

35.)Sing the Lord ye voices all!

T.Ray Bullard - Heidelberg, Germany
raytheapostle@yahoo.com or acousticray@gmail.com
Early Show
La Do Da
Feeling That Way>
Too Late
On a Saturday Night
Lovin' Touchin' Squeezin'
City Of the Angels
Do You Recall
Lady Luck
Wheel In The Sky
Opened The Door
Improvisation #1
Encore (Improvisation #2)

Kimmo POHJONEN, accordion, voice
Samuli KOSMINEN, accordion samples, voice samples
Trey GUNN, Warr guitar
Pat MASTELOTTO, rhythmic devices

Heikki ISO-AHOLA, surround sound design


Kimmo Pohjonen and Samuli Kosminen (Kluster) and Pat Mastelotto and Trey Gunn (from King Crimson and duo TU) join forces for the double duo formation KTU (pronounced K2).
Percussionist Pat Mastelotto and guitarist Trey Gunn have enjoyed successful careers with the band King Crimson, one of the worlds most dynamic, skillful and innovative bands. Their new duo known as TU explores and highlights the well-known Gunn and Mastelotto edge, energy, humour, imagination, phenomenal playing skills and dynamism in an improvisational setting. The first TU album was released in early 2004 followed by April appearances in Moscow.
Seeds for KTU took root at SXSW in Austin Texas in March 1999 when Kimmo Pohjonen shared a billing with Mastelotto/Gunn/Fripp's Project Three at the Electric Lounge. Plans for the quartet took shape over the next five years. KTU's aim is to combine the creative energies, edge imagination and other elements of the four players to make something new, different and musically explosive. Material is mainly comprised of compositions by Pohjonen and Kosminen, plus pieces by Gunn and Mastelotto and arrangements and improvisations by all four. Surround sound design and additional effects by Heikki Iso-Ahola.
KTU rehearsals and the World Premiere concert took place in Helsinki at the venue Nosturi in April 2004, followed by four concerts in Tokyo at Eggman. All concerts were recorded on multi-track with intention for future CD release. 
1-1. Intro 3:46
1-2. Carry On Wayward Son 5:22
1-3. Icarus-Borne On Wings Of Steel 5:44
1-4. Down The Road 3:29
1-5. Good Evening Introduction 1:28
1-6. Mysteries And Mayhem/ 4:12
1-7. Lamplight Symphony/ 2:30
1-8. The Wall 4:49
1-9. Introduction 1:38
1-10. Lonely Wind 6:55
1-11. What's On My Mind 3:33
1-12. Miracles Out Of Nowhere 6:44
1-13. Guitar Solo 3:24
1-14. Child Of Innocence 4:30
1-15. Introduction 1:07
1-16. Keyboard Improv/ Drum Solo/Magnum Opus 13:44
2-1. Song For America 9:45
2-2. Violin Solo 4:07
2-3. Cheyenne Anthem (Ending) 3:32
2-4. Belexes 4:45
2-5. Interview with Band Members 7:21
The Opening Act: Ambrosia
2-6. Make Us All Aware 6:30
2-7. Can't Let A Women 6:38
2-8. Holdin' On To Yesterday 6:12
2-9. I Wanna Know 7:45
2-10. World Leave Me Alone 4:33
Lineage: 24 track Master tapes  > Maxell XLII cassette with Dolby B  >
Wave via Soundforge > FLAC (6) Mixed December 1, 1991

Speed Corrected By Coasternut 16 July 2005

-> wav -> Cool Edit Pro -> Upsampled to 32 Bit 192 kHz -> Editing ->
Resampled to 16 Bit 44.1 kHz with .7 Dither Triangular Noise
Shaping C2 -> Foobar 2000 -> FLAC (Level 8)
Speed correction factor: 101.8


01. Intro - Song For America 07:08
02. Point Of Know Return 02:58
03. Paradox 04:38
04. Down The Road 04:22
05. Mysteries And Mayhem - Lamplight Symphony Segment 06:44
06. The Wall 04:41
07. Lonely Street 08:51
08. Dust In The Wind - Band Intros 05:11
09. Miracles Out Of Nowhere 07:03
10. Portrait (He Knew) 05:40
11. Carry On Wayward Son 04:36
12. The Magnum Opus 09:42
13. Bringing It Back 07:24

Total Time: 79:06

The Band:

Phil Ehart
Dave Hope
Kerry Livgren
Robby Steinhardt
Steve Walsh
Richard Williams

Canada Jam - The Lamplight Mix - Mosport Park, Ontario - August 26, 1978
I obtained one set of the 24 track master tapes from a storage facility in Canada
in the summer of 1991. (There were two tape machines running during the show)
 I have a friend who had a 24 track machine, and he gave me free studio time to do
a quick "on the fly" mix so I could enjoy the show.
This was the second time I mixed this show, and I have since given the masters to
Kerry Livgren who was happy to get them!
 I mixed to a Maxell LXII cassette with Dobly B noise reduction (it was the thing at the time).
There are very little effects added, and only a touch of reverb as I mixed.
There were only 4 mikes on the drums, and I wish I had more time to have tweeked
those to a more punchy place. Listening to this now, I also wish I had rolled off a bit
of the high end tape hiss.. Not alot, but you decide!
There are a couple of slight "glitches" that appear at about the 30 and 60 minute marks.
This was were the 30 minute 24 track reels ended, leaving a couple of second gaps
as the crew changed to a new reel. (This is why two machines were running at all times
so the "gaps" could be fixed ..
The best part of mixing those 24 track tapes was sitting there with only my friend,
listening to Steve Walsh's amazing voice isolated with nothing else through the system!
I had goose bumps.. This band has been one of my top 5 bands for 31 years!!

I hope you enjoy the recording! (as with everything I do, I wish I could do a re-mix
from the 24 tracks now.. I have more experience and feel I could do so much better!)
Manufacturer:	Black Rose Entertainment
Catalog: 		BRCD 2001-042-1/2
Matrix:		CCTD10930D / CCTD10930D
Barcode: 		none

Conversion:	my silver CD's > EAC > SHN
SHN-ed by:	kerrylives

Artwork and MD5's included

Disc 1:

01 [07:31] Song For America
02 [03:05] Point Of Know Return
03 [04:37] Paradox
04 [04:07] Down The Road
05 [04:42] Mysteries & Mayhem
06 [02:44] Lamplight Symphony (excerpt)
07 [04:28] The Wall
08 [07:59] Lonely Street

Ttl [39:13] 

Disc 2:

01 [05:37] Dust In The Wind
02 [01:06] Band Intro's
03 [06:25] Miracles Out Of Nowhere (fades out at the end)
04 [05:50] Portrait (He Knew)
05 [04:24] Carry On Wayward Son
06 [09:59] Magnum Opus 
07 [07:25] Bringing It Back

Ttl [40:46] 


This is an excellent soundboard recording of the original Kansas line up back in the 70's, including "smoking" Dave Hope and the maestro himself Kerry Livgren. What can I say... You can't go wrong with this one! Perfect clarity and wide stereo sound throughout. Without a doubt a must have for any fan! Our wayward sons take the stage for their only Canadian appearance during their Point Of Know Return tour in 1978. They play a blistering show which was recorded for their upcoming live album Two For The Show, as Robby mentions at the beginning of DITW. None of the tracks however were used for it. One of the highlights is Bringing It Back, which really pales the studio version. And that's exactly what Kansas is all about: being at their best playing live. Unfortunately there are two major cuts in this recording. The first one about 1 minute into The Wall, cutting out a minute and half or so and the other can be found about 3 minutes into COWS. This is a real shame especially seen the quality of this recording. One has to take this for granted however, unless a more complete pressing of this show surfaces. Also, during the band intro's the recording skips back a few seconds. This however can easily be corrected by doing some editing yourself before burning the files. To my knowledge this show has also appeared on an other (older) bootleg called Canada Jam. Since I never heard that one I couldn't tell if these flaws are on that one as well. Otherwise, this is a flawless and highly enjoyable recording. 




Disc 1
01. Intro 
02. Point Of No Return 
03. Icarus - Born On Wings Of Steel 
04. Paradox 
05. Hopelessly Human 
06. Cheyenne Anthem 
07. Dust In The Wind 
08. You Think You Got It Made 
09. Mask Of The Great Deceiver 

Disc 2
01. Miracles Out Of Nowhere 
02. Loner 
03. Anything For You 
04. Don't Open Your Eyes 
05. Got To Rock On 
06. No One Together 
07. Hold On 
08. Relentless 
09. Portrait (He Knew) 
10. Carry On My Wayward Son 
11. End Of The Road 
Audio Visions Live
Source: audience
Lineage: unknown Sony mic> Sony WMD3 analog recorder> Maxell XLII-100> SB Live> CD Wave> Flac frontend
Taper: PT

1- intro
2- Musicatto
3- Point of Know Return
4- Closet Chronicles
5- The Wall
6- Dust in the Wind
7- Cheyenne Anthem
8- On the Other Side
9- Lonely Street
10- Child of Innocence
11- Portrait (He Knew)
12- Carry On Wayward Son
13- Down the Road
"Arrow Rock" Festival
Sony MZ-NH1 incl. Coresound Cardioid mics

Opus Insert
Miracles Out Of Nowhere
Icarus - Borne On Wings Of Steel
Bringin' It Back / Down The Road
Point Of Know Return
Portrait (He Knew)
Dust In The Wind
Carry On Wayward Son

Schoeps MK41's(at DINA) on 8ft Mic Stand>Nbox>Edirol R-4 (@24Bit/96Khz)

Recorded by Flying_Gonz & Associates

Edirol R-4>Wavelab 5 (Fades & UV22HR Dither to 16Bit/44.1khz)>CDWAV>FLAC

WMGK Staff speaches
Desperate Times
Sparks Of The Tempest
Miracles Out Of Nowhere
Icarus II
Icarus (Borne on the Wings of Steel)
Elanor Rigby
Hold On
Point Of Know Return
Portrait (He Knew)
encore break
Dust In The Wind
Carry On Wayward Son 

This show will fit on 1 80 minute CD if you take off the WMGK speach track and the encore break track.
Source: SBD > Phillips CDR 
Lineage: CDR > EAC(Secure#) > FLAC 1.1.0 > Cd Wave > Cool Edit Pro 2.1 > Flac

Disc 1

Eddie's Dance		
Soul Vibration
Mighty Mouse
Criminal Mastermind
Family Tree **** With Rebirth Brass Band
Groove On

Disc 2

The Grunt >
The Bridge
The Big Payback
So Damn Funky
Encore: Flute Intro
Can You Feel It?
Set I
1 - Who Are You? . Soul Driftin'
2 - Mighty Mouse, Criminal Mastermind
3 - The Bridge
4 -The Hen , Apparently Nothing
5 - Ruff Tuff & Tumble > Contusion
6 - All the Brothers & Sisters
Set II
1 - So Damn Funky , Whip Whop
2 - Family Tree
3 - Because of her Beauty,
4 - Freedom,
5 - Los Los
6 - Fallin' > Groove On
Rich Man's Welfare
Bougenvillea > NYC
Bag of Funk
Because of Her Beauty
Whip Whop
Good for Me (and You)

Can You Feel It?
Cool Is Back

Karl Denson sx.
*Sista Teedy vcls.
**Billy Nershi gtr.
Chris Littlefield trmp.
David Vieth keys.
John Staten drms.
Ron Johnson bas.
Brian Jordan gtr.

Source: SBD>V3>TCD-D8

Transfer: Sony SDT-9000 (dds drive) >VDAT>Sound Forge 5.0>wav>shn

Taped and transfered by John Dove
Label: Blue Moon Records

Lineage: CDR>EAC(secure)>wav>flac(level 7)
Artwork, recording history, and lyrics available in the torrent!

Running Time: 74:53
File Size (flac): 401MB

Track List:

1. Babooshka
2. Kashka From Baghdad
3. Coming Up
4. Oh, To Be In Love
5. Playing Canasta
6. Snow
7. Ferry Me Over
8. Lionhearts
9. Violin
10. The Craft Of Love
11. Queen Eddie
12. In My Garden
13. Frightened Eyes
14. Never The Less
15. Goodnight Baby
16. So Soft
17. I Don't See Why I Shouldn't
18. Babooshka (Version 2)
19. The Kick Inside
20. Hammer Horror
21. A Rose Growing Old
22. Keep Me Waiting
23. Davy
24. Disbelieving Angel

25. Don't Put Your Foot On The Heart Brake
26. Kite
27. L'Amour Looks Something Like You
28. Strange Phenomena
29. Really Gets Me Going

Tracks 1-24 are home demos 1974.  25-29 are studio outtakes with the KT Bush Band 1975.

Hello KB fans.  Back again with the second and last of my Kate postings.  You were all great about sharing and your kind comments were much appreciated.  Sorry if the artwork gave anyone trouble.  I'll try to post it on the CD covers threads.  Should be no problems this time, though.

A little history is in order regarding this release for those who may not know the story (a much more comprehensive account is available in the torrent).  In 1972/73 Kate 
recorded several tapes of songs.  Twenty to thirty of these songs were presented to record companies by John Carder Bush's friend Ricky Hopper, at first without success.  Then Ricky Hopper presented the songs to David Gilmour. Gilmour noticed her talent, but also the bad tape recorder quality.   A recording session took place at Kate's house with Gilmour in 1973. Only Kate was recorded, accompanied by her piano, but with a better recorder. Gilmour has spoken at least twice about this session in interviews. “I did some recording at her house, her parent's
house...I know that one of the first songs that I noted was ‘The Man With the Child in His Eyes’, out of many songs that she had written. She was only 14, I think, when I met her, maybe just about 15.”  This may be the session Kate had in mind, when she later said, “Absolutely terrified and trembling like a leaf, I sat down and played for him. He came along to see me and he was great, such a human, kind person - and genuine.”  Gilmour has also said he “paid to have Kate go into a studio and re-record some fifty songs over again” possibly solo with her own piano accompaniment. Whether this refers to a separate studio session or the one with Gilmour and his musician friends as back-up is unclear.  In any event, in August, 1973, Kate was recorded at Gilmour's farm studio with two “Unicorn” band members, drummer Peter Perrier and bassist Pat Martin. Gilmour played electric guitar. According to Gilmour between ten and twenty songs were recorded. This tape was sent to EMI. 
The Saxophone Song
Room For The Life
Them Heavy People
The Man With The Child In His Eyes
L'Amour Looks Something Like You
The Kick Inside
In The Warm Room
Strange Phenomena
Hammer Horror
Kashka From Baghdad
Don't Push Your Foot On The Heartbrake
Coffee Homeground
In Search Of Peter Pan
Symphony In Blue
Feel It
James & The Cold Gun
Oh England,My Lionheart
Wuthering Heights

Kate Bush - with special guest Peter Gabriel
BBC TV Christmas Special broadcast on 28th December 1979
Recorded in October 1979 at the BBC Studios in Birmingham, England

Director: Roy Norton
Dancers: Gary Hurst, Stewart Avon-Arnold
Choreographer: Anthony van Laast

01. Violin
02. Symphony In Blue
03. Them Heavy People
04. Here Comes The Flood*
05. Ran Tan Waltz
06. December Will Be Magic Again
07. The Wedding List
08. Another Day*
09. Egypt
10. The Man With The Child In His Eyes
11. Don't Push Your Foot On The Heartbrake

(*) with Peter Gabriel

Pre-broadcast master D3 tape > DV tape > iMac (via Sony DV cam) > DVD


Source: ? (wished to remain anonymous)
DVD authoring: Willem Beens
Audio restoration, mastering and cover design: TM Productions

Notes on the audio remastering by Tom Morgenstern:

First of all, I had to realise that the video soundtrack was actually a mono recording, so I dropped one channel for the further processing. Then I treated it with the Cedar Cambridge suite (mainly NR4 noise reduction and de-buzzing - there was a slight hum audible at low volumes). Then I borrowed the first three Kate Bush Studio CDs and compared it to the video soundtrack. I found out that the recordings were sometimes almost identical, obviously remixes, some other were completely re-recorded or had new vocal parts at least. For instance I wondered why there were no violins to hear during "Violin" - the studio version had it, why not the BBC version which was otherwise a remix of the CD version? - I couldn't imagine a reason until I saw the video... so I used the CDs only as the sound reference for the EQing stage.
There were many small bumps and microphone pops here and there, mainly on the re-recorded vocal tracks. Obviously the Beeb engineers didn't care about it - I found it too annoying, so I removed it. At the last stage I added a sort of fake stereo effect, I had to use it carefully not to change the sound balance.

Taper: PT

Core Sound Binaurals>Archos Gmini 120>USB>WavLab>CDWave>FLAC Frontend

Size 742 MB FLAC

Keith Emerson - Keyboards
David Kilminster- Guitar
Pete Riley: Drums
Phil Williams: Bass

1- America
2- Country Pie
3- Hold On To A Dream
4- Bitch's Crystal
5- Touch and Go
6- Broken Amp Piano Interlude
7- Karelia Suite
8- ? piano solo
9- Occasion Alley
10- ? piano solo
11- Qango Story
12- Just Crazy

1- Lucky Man
2- Hoedown
3- Tarkus
4- Fanfare For The Common Man
5- Honky Tonk Train Blues (slow train)
6- Honky Tonk Train Blues (fast train)
SP-CMC-8 (Cardoids) -> Battery Box (no bass filter used) -> Sharp IM-DR80-B MD 
->Creative Audigy 2 -> CDWAV -> FLAC Level 8 

Seat Location: Floor, about 20 feet or so back from the right mains,
on the guitarist's side of the stage.

01 Intro
02 Hoedown
03 Living Sin
04 Bitches Crystal
05 Tarkus
06 Battlefield
07 ? (need help on this one)
08 Fanfare for the Common Man

Disc1: (63'20") 
01. Karn Evil 9, First Impression, Part 2
02. Piano Concerto 1 - 3rd Movm Toccata con Fuoco:
03. Living Sin;  
04. Bitches Cristal;  
05. Hoedown;  
06. Country Pie;  
07. Static;  
08. Rondò; 
09. Piano Improvisation and Fugue; 
10. Don Edito El Gruvia

Disc2: (63'29") 
01. Touch and Go; 
02. Lucky Man; 
03. America; 
04. Tarkus; 
05. Black Dog; 
06. Fanfare for the Common Man

Taper by capaldi
Mic: 2 x DPA4061; Record linear wav on compact flash card by Maycom HH 2nd > Dinamic Eqlz waves C4 > Flac
Pics: Canon EOS300D
Audiophile record N°78 from J-Plane vault - original artwork included
VCD format
Source : DSBD > DAT
Conversion : DAT > Tascam MK II > Waveterminal U2A > WAV > CDWAV > MKW > SHN (SHN > FLAC using SHNtool)

Disc 1 (60:01)
Set 1:
01 04:51 - The juggler
02 06:20 - Like a rolling stone
03 05:19 - Sally sullivan > Bad > Sally sullivan
04 04:14 - Jack a roe
05 04:18 - Relaxation station 
06 03:29 - Gentry Song 
07 05:50 - Living alone % 
08 06:06 - Anyhow anyway
09 03:55 - Mexicali blues 
10 03:43 - Fluffhead
11 07:43 - Get on up *
12 05:31 - Midnight moonlight > Help me somebody > Midnight moonlight 

Disc 2 (60:00)

Set 1: (Cont)
01 06:27 - In the middle 
02 02:40 - If i could >
03 01:02 - Down With Disease

Set 2: 
04 03:36 - Le freek >
05 04:06 - Sideways tree
06 03:45 - Time flack
07 06:26 - Best feeling
08 02:37 - Angel from montgomery > 
09 03:47 - Fearless 
10 04:43 - Shapes of change > 
11 04:15 - Fire on the mountain @
12 02:43 - Gold dust girl > @
13 03:13 - GDTRFB > @
14 05:01 - What i am @ 
15 03:46 - Fuel for the road 
16 02:29 - Redemption song

Disc 3 (41:24)

Set 2: (Cont)
01 03:49 - Passapatanzy
02 05:32 - Cavern > Jam
03 05:45 - Chillin' Like A Villian
04 05:12 - Jimmy thing
05 06:03 - A day that never was 
06 01:45 - Goodbye blue sky > $
07 04:41 - The river > 
08 03:38 - Turn in difference 
09 04:59 - Yoni 

%-Song name unknown
*-w/ streetbeater 
@-w/ Donna Roe (sp?) on vocals 
$- Pink Floyd 

Transfered DAT > Shn's & Info File created by Tim M. rmplurker@hotmail.com
It Must Be New York
The Knitting Factory, NYC

Core Sound Binaurals > SOny PCM1 > Optical link > Phillips stand alone

Disc one
1. Jericho
2. Tight to the Jar (new song)
3. Mr. My Go
4. The Girl I Left Behind
5. WIthout the Light
6. Nine Tail Whip (new Song)
7. Capman Boatman
8. Wandering Away
9. Unknown title (new song)

Disc Two
1. Fleashine
2. River Rat Jimmy
3. pre-encore applause
4. (encore) Katy
5. (2nd encore) Unknown title (new song)

Txt file:

Four new songs and the resurrection of the lap slide!!!! Hot diggety dog!
I usually tape with my mics hanging over the balcony, just to the left of the soundboard, but on this night the seats were taken, and anyway there was an electric fan mounted on the overhang. And it was rather loud (It was the third of fourth consecutive day of 95 degree heat - Kelly makes an early comment about how much nicer it is to be in here than outside). There were no chairs on the floor in front of the stage, so I had a choice to make - tape upstairs from behind the fan (not the best choice), downstairs right up against the stage (where I'd pickup more of the monitors than the stage speakers) or in front of the fan but on the floor (also not a good choice). I kind of stood smack in the middle of the floor, 10 feet from the stage and 12 feet from the fan. Had the fan not been there, I could have stood back a bit more and been right in the sweet spot. As it was, the recording came out a bit on the quiet side (I've learned over the years with KJP that the dynamics of his guitar/vocals make for a very tough read, and it's better to underrecord on the levels than go thru the ceiling (besides, his playing does that!).
IMHO, this show was sadly underpromoted, and being on a Tuesday night, the audience was rather sparse - maybe about 60 people in all; by the end, as people unaccountably left, I was rather conspicuous with my eyeglass mics and DAT in hand (you can here someone asking if I was recording between the first and second encore) standing in the middle of the floor.
All things considered - quite a stunning performance. It's such a treat to hear the slide guitar again after a two-three year hiatus.
FLAC (level 8, sector boundaries aligned)

Kenny Garrett: alto saxophone
Pat Metheny: guitars, guitar synthesizer
Nat Reeves: acoustic bass
Brian Blade: drums

1. Like Sonny (John Coltrane)
2. Pursuance (John Coltrane)
3. Giant Steps (John Coltrane)
4. Wayne's Thang (Kenny Garrett)
5. Sing A Song Of Song (Kenny Garrett)
Lineage - FM Tuner analogue - Cooledit - Flac TLH (compression 6) aligned
Duration: 58min 32sec








Kenny Garrett Quartet.

Kenny Garrett (sax) 
Benito Gonzalez (piano)
Nat Reeves (bass)
Jamire Williams (drums)
transfert usb2
taper: HZ

Kenny Neal (Vocal, Guitare, harmonica) 
Billy Branch (vocal, harmonica) 
Fredrick Neal (claviers) 
Darnell Neal (bass) 
Bryan Morris (batterie)
Marked Time
How Deep Is the Ocean
Long Suite 2005

Kenny Wheeler - trumpet
Hugh Fraser - conductor
Norma Winstone - voice
Gwilym Simcock - piano
John Parricelli - guitar
Dave Holland - double bass
Martin France - drums
Lee Konitz - alto saxophone
Evan Parker - tenor saxophone
Julian Arguelles - saxophones
Duncan Lamont - saxophone
Stan Sulzmann - saxophone
Ray Warleigh - saxophone
John Barclay - trumpet
Ian Hamer - trumpet
Henry Lowther - trumpet
Derek Watkins - trumpet
Gordon Campbell - trombone
Barnaby Dickinson - trombone
Richard Henry - trombone
Mark Nightingale - trombone
Originally released: 1998 (Only through the King Crimson Collectors' Club)


    * Robert Fripp (guitar)
    * Ian McDonald (woodwind, keyboards, mellotron, vocal)
    * Greg Lake (bass guitar, lead vocal)
    * Michael Giles (drums, percussion, vocal)
    * Peter Sinfield (illumination ) 


    * 6'20 21st Century Schizoid Man (Fripp, Lake, McDonald, Giles, Sinfield)
    * 5'41 Drop In (Fripp, Lake, McDonald, Giles)
    * 5'14 I Talk To The Wind (Fripp, Lake, McDonald, Giles, Sinfield)
    * 3'20 Epitaph (Fripp, Lake, McDonald, Giles, Sinfield)
    * 11'06 Travel Weary Capricorn (Fripp, Lake, McDonald, Giles, Sinfield)
    * 12'28 Improv (Fripp, Lake, McDonald, Giles, Sinfield)
          o including Nola (Arndt)
          o and Etude No 7 (Carcassi) 
    * 8'22 Mars (Holst arr. Fripp, Lake, McDonald, Giles, Sinfield) 

Bonus Track:
Croydon, Fairfield Hall, October 17, 1969

    * 18'41 Trees (Fripp, Lake, McDonald, Giles, Sinfield)

Date Submitted: 24-Oct-98
By: Daniel Kirkdorffer (DanKirkd at aol dot com)

    "This is the first of DGM's Collectors' Club releases, and although the quality of the recording is at times quite terrible, the quality of the performances are at times quite extraordinary.

    "Fripp however provided his warnings about the poor quality of this audience recording, and releasing this material through the club allows it to find an audience that hopefully can hear through the noise and enjoy the music. A general release would never fly, and it is doubtful King Crimson fans will be able to obtain this recording legitimately through any other means than the Collectors' Club.

    "In that light, this review is for those curious about what they missed, so here are some tidbits of interest.

    "The CD contains over 71 minutes of music. Probably due to the exceptionally poor quality of certain parts of the recording, 21st Century Schizoid Man and Epitaph are 'joined in progress'. The first notable recording is I Talk To The Wind, heard live for the first time on an official King Crimson release. The track's quality is quite decent, probably due to it being a quieter piece than some of the sonic thunder and distortion of the other tracks. The unnamed improv is also quite remarkable, as each player takes center stage in turn. Fripp's piece is clean and promising, and Giles drum solo blows you away. As always Ian McDonald's sax playing live shows just how restrained the studio recordings were for his talents. And then there is Mars, as intense as ever. So much so, at one point it sounds like an audience member can be heard screaming his head off as if he can't take the building of the audio onslaught any more!

    "Finally a few words about music not credited (in a way). Unlike on the Epitaph release, Fripp does not separately list the track Mantra, which here makes up the first 7'33 of Travel Weary Capricorn. Additionally the bonus track Trees, previously unreleased, segues into part of the Birdman suite that McDonald and Giles recorded on their collaboration released after they left King Crimson, and then segues into the instrumental part of Pictures of a City/A Man, A City, which accounts for the bulk of the 18 plus minutes of the bonus track.

    "Overall, this is a very interesting release, and a good way to get the Collectors' Club rolling." 

Date Submitted: 28-Oct-98
By: Arturs Kalnins (kalnins at almaak dot usc dot edu)

    "This is a wonderful release. I urge people to listen past the bad sound. After a minute or two I get so engrossed in the performance that the sound quality becomes completely irrelevant.

    "This now surpasses Plumpton as my favorite 1969 KC performance. Schizoid man is very intense, probably equal to Plumpton, but the first real treat is I talk To The Wind. I never liked the version much on itCotCK - very leaden. In contrast this version breathes with some nice interplay between guitar and drums. in addition, the vocals convey more emotion than the studio version.

    "This album also sports my favorite version of Mantra/TWC. The intro of mantra, full of subtle guitar, sounds like a prototype for today's indie low-fi bands. I wonder if Windy & Carl or Tortoise ever listen to this stuff or did they come up with this sound independently? Improv is also great, with some cabaret jazz, a pastoral flute/guitar piece, and a very Yes-like raveup closing out the piece. Fripp and Lake really have Banks and Squire's sound down on this one. Or is it the other way around?

    "The "bonus track" Trees really does have awful sound quality, but fripp did warn us about this. Here, I just pretend the bad sound is a conscious attempt to be ambient or something and the piece is fairly enjoyable.

    "I never thought I'd be saying this but I would continue to buy more Live 1969 Crimson because I discover great new music from each concert. Until last year, I would have rated the Lark's Tongues Crimson far above the original lineup, but not anymore!" 

Date Submitted: 3-Nov-98
By: Dave Scott (loobyds at tcc dot on dot ca)

    "I just received my disc yesterday. Boy does this sound terrible, but you know what, I love this CD. Even though the sound is sonically a mess. The music is both beautiful and terrifying at the same time. It is great to hear I Talk to the Wind live for the first time. Mars, one of my favourite KC songs is a masterpiece of mystery & mayhem. Everyone is in fine form, especially Ian's sax work. Wouldn't it be great if these guys got back together for one last hurrah. If you haven't joined the club, stop what you are doing right know and join. You won't be sorry. Great work Robert & David." 

Date Submitted: 5-Nov-98
By: Michael Goodall (goodall at earthling dot net)

    "I've just popped in Live at the Marquee and while the recording is quite distorted during the more intense passages (not a complaint, just an observation - we had been warned) , the quiet moments on the disc (I Talk to the Wind, the mellotron during Epitaph, and especially the guitar & flute on Travel Weary Capricorn) are exceptional. You can almost feel the painstaking restoration work that must have been needed to bring out the music. If you were unhappy with some of the lower fidelity heard on parts of Epitaph, this disc will probably be a disappointment. But if you are looking for more examples of how fantastic KC must have been live in 1969, you will love Live at the Marquee." 

Date Submitted: 9-Nov-98
By: Nick Bradey (nick at bradey dot freeserve dot co dot uk)

    "This is an interesting historic release. The sonic quality is reasonable on the numbers from the Marquee club, but the bonus track "Trees" is very distorted . Nonetheless, this is a worthwhile release, and makes an interesting addition to the 4Cd set "Epitaph".

    "The improvisation consists of "Mantra" segued with "Travel weary Capricorn", but there are distinct variations from the versions on "Epitaph".

    "It is a pity that "Moonchild" does not appear, but hopefully a live version will surface in the future. The packaging is very good, and the sleeve notes, as usual, are worth reading." 

Date Submitted: 5-Dec-01
By: Mike Cohn (flashpreservation at yahoo dot com)

    "This was the first KCCC release I got. No, the sound quality is not great, worse than the Moles Club show, but what do you expect for 1969? The performance is still amazing...definitely better than those Fillmore shows from the Epitaph set (which are still very good). The only thing is that my copy seems to be missing Epitaph entirely, as the last 14 minutes of Trees. Does anyone else have this problem!? Or is Epitaph just added on to the beginning of Travel Weary Capricorn? Someone email me and help me! Anyways, this is a great release, and well worth the purchase. The sound is distorted, but nothing a bit of re-EQ couldn't fix. Don't pass this up: just sit back in your chair and let the energy and power of this show devour you." 


Date Submitted: 10-Oct-99
By: Richard Royston (troyston at snet dot net)

    "No-one seems to have mentioned the lovely melody of the first part of Trees (to 4:07). Not cosmic or jaggedly angular, just one of those transcendent melodies Crimso and Fripp have inexplicably been able to come up with over the years. And the way the melody reprises in a much heavier fashion (at around 14:15) anticipates the structure of 1974's Starless (another transcendent song, but that's another story)." 

Not for trade
Originally released: 1998 (Only through the King Crimson Collectors' Club)


    * Robert Fripp (guitar, mellotron)
    * Mel Collins (sax, flute, mellotron)
    * Boz Burrell (bass guitar, lead vocal)
    * Ian Wallace (drums, backing vocal) 


    * 9'47 Pictures of a City (Fripp, Lake, McDonald, Giles, Sinfield)
    * 9'08 Cirkus (Fripp, Sinfield)
    * 6'39 Ladies of the Road (Fripp, Sinfield)
    * 10'20 Formentera Lady (Fripp, Sinfield)
    * 14'06 The Sailor's Tale (Fripp)
    * 10'25 21st Century Schizoid Man (Fripp, Lake, McDonald, Giles, Sinfield) 

Not for trade
01	Improv: The Rich Tapestry of Life	29:49
02	Exiles	7:53
03	Larks' Tongues in Aspic (part 1)	6:54

a mono recording

not for trade
CD: Atlanta 1973 Real Stereo, Sirene-005, n.d. (2003?)

Lineage: Silver > wav (EAC 0.95b4, secure mode) > flac (flac 1.1.2, level 8, verify)

1. Doctor Diamond [4:03]
2. Larks' Tongues in Aspic, Part One [12:12]
3. MC [2:38]
4. Easy Money [7:20]
5. Improvisation #1 [4:51]
6. Exiles [6:53]
7. Book of Saturday [2:56]
8. Improvisation #2 [5:02]
9. Talking Drum [6:40]
10. Larks' Tongues in Aspic, Part Two [7:21]

Robert Fripp, John Wetton, Bill Brufford and David Cross
This gig appears to be a testimony to the recuperative powers of John Wetton’s constitution. Having been out partying in the company of David Enthoven and Richard Palmer-James the night before in Munich, he still manages an impressive performance on Doctor Diamond and indeed throughout the rest of the gig. Though the good Doctor would forever elude them in the studio it seems that the band really beginning to find the soul of this song in concert. Fracture has a risky quality tonight; Bruford is in an adventurous mood whilst David’s tron is a touch out of tune. However he wreaks havoc on the Hohner by way of compensation as Fripp and co rock out. Short but terribly sweet, one can’t help but wonder where the improv with its gorgeous violin outing might have ended up had it not been prematurely guided into the direction of Exiles. Whilst the improv Augsburg appeared on the 21st Century Guide To King Crimson, this is the first time the whole concert has been made available.
Disc Number 1
1.  	Dr Diamond    	  	 5.21
2.  	Lament	  [PREVIEW] 	 4.10
3.  	Easy Money	  [PREVIEW] 	 7.13
4.  	Fracture	  [PREVIEW] 	 11.02
5.  	The Night Watch	  [PREVIEW] 	 4.28
6.  	The Great Deceiver	  [PREVIEW] 	 3.48
7.  	Starless	  [PREVIEW] 	 11.19
8.  	Improv Augsburg	  [PREVIEW] 	 1.33
9.  	Exiles	  [PREVIEW] 	 6.37
10.  	Larks' Tongues In Aspic Pt II	  [PREVIEW] 	 2.52

Bill Bruford - Drums, Percussion
David Cross - Violin, Viola, Mellotron, Electric Piano
Robert Fripp - Guitar, Mellotron
John Wetton - Bass Guitar & Lead Vocal

Not for trade. Purchase this recording at http://www.dgmlive.com/archive.htm?artist=5&show=927
1st Gen Audience Analog>CDR>EAC>SHN   

01  No Pussyfooting
02  Easy Money
03  Lament
04  Fracture
05  Improv
06  Talking Drum
07  Larks' Tongues In Aspic (part II)
08  21st Century Schizoid Man

Note: These shows are true first gen copies. At one time I had the taper's name but have lost it over the years. 
The taper has long ago left the trading scene. These are the best copies I think one could find of these shows.
The CDR was made from original transfer WAV files. So only one DAE is in this lineage.
Extraction was done on a Plextor 16/10/40a with correct offset for this drive(+99).
 Though this particular line-up were edging closer to oblivion, listening to this full show 30 years after the event, the energy levels are astounding. In his journal from the time RF described the show as "Tired. Lifeless. Lacklustre” Maybe Fripp’s estimation of the gig was informed by his recovering from mild food poisoning, the cumulative effect of prunes and a boil in his ear!

It seems nobody was happy this particular night. Sound engineer George Chkaintz had trouble with the sound in the recording truck, roadie Tex is frightened to turn down Wetton’s amp despite the discreet urgings of other members of the band and crew, Fripp is giving tour manager Dik Frasier grief,and the promoter isn’t best pleased because the band haven’t done an encore!

Despite all of this, the concert isn’t anywhere near as bad as Fripp and others judged it at the time. LTIA rips and roars like an angry beast, and the exquisite lead lines during Exiles compensate for the liberties taken with some of ithe timing. Fracture is a major event with Wetton and Bruford seemingly in a deathmatch race to see who can reach the end of the song first. Thankfully Fripp and Cross manage to keep up with them! The improvs are robust in character and prove that even with all of the problems and politics in the band, Crimso hit escape velocity: the second one in particular gives a gently-inclined Cross a chance to move out from under the overbearing rhythm section. Oh, and did I mention that Starless is a must-have belter?

Mixed directly from the multitracks, with the exception of those improvs, having been previously pressed into active service on The Great Deceiver box set, this is the first time the entire concert has been made available.

Disc Number 1
1.  	Walk On	  [PREVIEW] 	 1.56
2.  	Larks' Tongues In Aspic Pt II	  [PREVIEW] 	 6.26
3.  	Lament	  [PREVIEW] 	 5.03
4.  	Exiles	  [PREVIEW] 	 7.22
5.  	Improv: Is There Life Out There?	  [PREVIEW] 	 14.14
6.  	Easy Money	  [PREVIEW] 	 2.22
7.  	Improv: Its For You But Not For Us	  [PREVIEW] 	 7.37
8.  	Fracture	  [PREVIEW] 	 10.54
9.  	Starless	  [PREVIEW] 	 15.44

Bill Bruford - Drums, Percussion
David Cross - Violin, Viola, Mellotron, Electric Piano
Robert Fripp - Guitar, Mellotron
John Wetton - Bass Guitar & Lead Vocal

not for trade. purchase from http://www.dgmlive.com/archive.htm?artist=5&show=420
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)
txt file:
This CD-r release is from cassette tapes that I got in trade many years ago.

Mics and Recorder unknown>
Cassette generation unknown>
Playback Deck: Tascam 130 >
Nikko 32 Band EQ >
Akai DR16 Digital Hard Disk Recorder >
HHB CDR-800 Compact Disc Recorder >
CDR  > WAV >CD Wave Editor > SHN

Robert Fripp: Guitar
Adrian Belew: Guitar, Drums and Lead Voical
Tony Levin: Bass, Stick, Synth and Vocal
Bill Bruford: Acoustic and Electric Drums and Percussions

disc 1

1981-05-07 Polytechnic Manchester, UK

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Elephant Talk #1
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Frame By Frame
10. Larks' Tongues in Aspic, Part 2
11. Elephant Talk #2

disc 2

1981-05-08 Liverpool University

1.   (intro)
2.   Discipline
3.   (Fripp greeting)
4.   Thela Hun Ginjeet
5.   Red
6.   Elephant Talk #1
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Frame By Frame
11. Larks' Tongues in Aspic, Part 2
12. (applause)
13. Elephant Talk #2

disc 3

1981-05-10 Her Majesty's Theatre, London

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Frame By Frame
6.   (Fripp speaks)
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Elephant Talk
11. Larks' Tongues in Aspic, Part 2

disc 4

1981-05-13 Captain Video, Paris France

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Jingeet
5.   Frame by Frame
6.   Matte Kudusai
7.   Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. Discipline

disc 5

1981/05/15 Paradiso, Amsterdam

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Ginjeet
5.   Frame by Frame
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. (applause)
12. Red

I removed all gaps which were a result of tape flip and change.   I also made a slight speed correction.
I did the editing, mastering, digital transfer and the artwork for this version of this show.  Please keep the artwork and text file, unaltered, together with the SHN's.

Don't rename directories or file names if you share this.

Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)

FRONT1-2.JPG	933.48 KB
FRONT3-4.JPG	933.68 KB
FRONT5.JPG	933.12 KB
BACK1-2.JPG	   3.09 MB
BACK3-4.JPG	   3.09 MB
BACK5.JPG	   3.02 MB
DISC1.JPG	913.34 KB
DISC2.JPG	913.76 KB
DISC3.JPG	913.65 KB
DISC4.JPG	913.67 KB
DISC5.JPG	913.75 KB
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471).txt	6.13 KB
Discipline (KC) 1981-05 (5 Of A Kind) (T-1471) Artwork-Text.md5
disciplineKC1981-05 (T-1471) d1.md5          814 Byte
disciplineKC1981-05 (T-1471) d1t01.shn	  1.69 MB
disciplineKC1981-05 (T-1471) d1t02.shn	39.68 MB
disciplineKC1981-05 (T-1471) d1t03.shn	46.81 MB
disciplineKC1981-05 (T-1471) d1t04.shn	44.01 MB
disciplineKC1981-05 (T-1471) d1t05.shn	35.79 MB
disciplineKC1981-05 (T-1471) d1t06.shn	26.30 MB
disciplineKC1981-05 (T-1471) d1t07.shn	58.11 MB
disciplineKC1981-05 (T-1471) d1t08.shn	51.87 MB
disciplineKC1981-05 (T-1471) d1t09.shn	39.91 MB
disciplineKC1981-05 (T-1471) d1t10.shn	47.48 MB
disciplineKC1981-05 (T-1471) d1t11.shn	31.41 MB
disciplineKC1981-05 (T-1471) d2.md5	   962 Byte
disciplineKC1981-05 (T-1471) d2t01.shn	11.63 MB
disciplineKC1981-05 (T-1471) d2t02.shn	42.74 MB
disciplineKC1981-05 (T-1471) d2t03.shn      2.08 MB
disciplineKC1981-05 (T-1471) d2t04.shn	45.07 MB
disciplineKC1981-05 (T-1471) d2t05.shn	41.92 MB
disciplineKC1981-05 (T-1471) d2t06.shn	36.31 MB
disciplineKC1981-05 (T-1471) d2t07.shn	25.93 MB
disciplineKC1981-05 (T-1471) d2t08.shn	59.95 MB
disciplineKC1981-05 (T-1471) d2t09.shn	45.49 MB
disciplineKC1981-05 (T-1471) d2t10.shn	36.36 MB
disciplineKC1981-05 (T-1471) d2t11.shn	38.29 MB
disciplineKC1981-05 (T-1471) d2t12.shn	  8.19 MB
disciplineKC1981-05 (T-1471) d2t13.shn	33.51 MB
disciplineKC1981-05 (T-1471) d3.md5          814 Byte
disciplineKC1981-05 (T-1471) d3t01.shn	  3.33 MB
disciplineKC1981-05 (T-1471) d3t02.shn	41.58 MB
disciplineKC1981-05 (T-1471) d3t03.shn	41.17 MB
disciplineKC1981-05 (T-1471) d3t04.shn	41.87 MB
disciplineKC1981-05 (T-1471) d3t05.shn	36.25 MB
disciplineKC1981-05 (T-1471) d3t06.shn	  9.08 MB
disciplineKC1981-05 (T-1471) d3t07.shn	27.38 MB
disciplineKC1981-05 (T-1471) d3t08.shn	60.10 MB
disciplineKC1981-05 (T-1471) d3t09.shn	43.54 MB
disciplineKC1981-05 (T-1471) d3t10.shn	33.29 MB
disciplineKC1981-05 (T-1471) d3t11.shn	41.28 MB
disciplineKC1981-05 (T-1471) d4.md5	   814 Byte
disciplineKC1981-05 (T-1471) d4t01.shn	  4.05 MB
disciplineKC1981-05 (T-1471) d4t02.shn	42.15 MB
disciplineKC1981-05 (T-1471) d4t03.shn	46.26 MB
disciplineKC1981-05 (T-1471) d4t04.shn	45.67 MB
disciplineKC1981-05 (T-1471) d4t05.shn	39.28 MB
disciplineKC1981-05 (T-1471) d4t06.shn	26.49 MB
disciplineKC1981-05 (T-1471) d4t07.shn	72.12 MB
disciplineKC1981-05 (T-1471) d4t08.shn	54.36 MB
disciplineKC1981-05 (T-1471) d4t09.shn	38.40 MB
disciplineKC1981-05 (T-1471) d4t10.shn	53.38 MB
disciplineKC1981-05 (T-1471) d4t11.shn	41.14 MB
disciplineKC1981-05 (T-1471) d5.md5	   888 Byte
disciplineKC1981-05 (T-1471) d5t01.shn	19.33 MB
disciplineKC1981-05 (T-1471) d5t02.shn	42.55 MB
disciplineKC1981-05 (T-1471) d5t03.shn	42.20 MB
disciplineKC1981-05 (T-1471) d5t04.shn	45.06 MB
disciplineKC1981-05 (T-1471) d5t05.shn	33.31 MB
disciplineKC1981-05 (T-1471) d5t06.shn	23.51 MB
disciplineKC1981-05 (T-1471) d5t07.shn	54.28 MB
disciplineKC1981-05 (T-1471) d5t08.shn	42.26 MB
disciplineKC1981-05 (T-1471) d5t09.shn	32.82 MB
disciplineKC1981-05 (T-1471) d5t10.shn	43.29 MB
disciplineKC1981-05 (T-1471) d5t11.shn	30.04 MB
disciplineKC1981-05 (T-1471) d5t12.shn	43.51 MB

Total number of files  = 76
Sum of file sizes = 2266284742 Byte

Please don't alter the sound of this recording.  If you want to do something find a better quality tape of the show and work from that. Don't just take what I have done and screw with it.

For Trade or Give Away only - Do not Sell - Do not encode as MP3 or any other format which degrades the
quality of the music.

                                          February 15, 2005             T________
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)

This CD-r release is from cassette tapes that I got in trade many years ago.

Mics and Recorder unknown>
Cassette generation unknown>
Playback Deck: Tascam 130 >
Nikko 32 Band EQ >
Akai DR16 Digital Hard Disk Recorder >
HHB CDR-800 Compact Disc Recorder >
CDR  > WAV >CD Wave Editor > SHN

Robert Fripp: Guitar
Adrian Belew: Guitar, Drums and Lead Voical
Tony Levin: Bass, Stick, Synth and Vocal
Bill Bruford: Acoustic and Electric Drums and Percussions

disc 1

1981-05-07 Polytechnic Manchester, UK

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Elephant Talk #1
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Frame By Frame
10. Larks' Tongues in Aspic, Part 2
11. Elephant Talk #2

disc 2

1981-05-08 Liverpool University

1.   (intro)
2.   Discipline
3.   (Fripp greeting)
4.   Thela Hun Ginjeet
5.   Red
6.   Elephant Talk #1
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Frame By Frame
11. Larks' Tongues in Aspic, Part 2
12. (applause)
13. Elephant Talk #2

disc 3

1981-05-10 Her Majesty's Theatre, London

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Frame By Frame
6.   (Fripp speaks)
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Elephant Talk
11. Larks' Tongues in Aspic, Part 2

disc 4

1981-05-13 Captain Video, Paris France

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Jingeet
5.   Frame by Frame
6.   Matte Kudusai
7.   Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. Discipline

disc 5

1981/05/15 Paradiso, Amsterdam

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Ginjeet
5.   Frame by Frame
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. (applause)
12. Red

I removed all gaps which were a result of tape flip and change.   I also made a slight speed correction.
I did the editing, mastering, digital transfer and the artwork for this version of this show.  Please keep the artwork and text file, unaltered, together with the SHN's.

Don't rename directories or file names if you share this.

Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)

FRONT1-2.JPG	933.48 KB
FRONT3-4.JPG	933.68 KB
FRONT5.JPG	933.12 KB
BACK1-2.JPG	   3.09 MB
BACK3-4.JPG	   3.09 MB
BACK5.JPG	   3.02 MB
DISC1.JPG	913.34 KB
DISC2.JPG	913.76 KB
DISC3.JPG	913.65 KB
DISC4.JPG	913.67 KB
DISC5.JPG	913.75 KB
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471).txt	6.13 KB
Discipline (KC) 1981-05 (5 Of A Kind) (T-1471) Artwork-Text.md5
disciplineKC1981-05 (T-1471) d1.md5          814 Byte
disciplineKC1981-05 (T-1471) d1t01.shn	  1.69 MB
disciplineKC1981-05 (T-1471) d1t02.shn	39.68 MB
disciplineKC1981-05 (T-1471) d1t03.shn	46.81 MB
disciplineKC1981-05 (T-1471) d1t04.shn	44.01 MB
disciplineKC1981-05 (T-1471) d1t05.shn	35.79 MB
disciplineKC1981-05 (T-1471) d1t06.shn	26.30 MB
disciplineKC1981-05 (T-1471) d1t07.shn	58.11 MB
disciplineKC1981-05 (T-1471) d1t08.shn	51.87 MB
disciplineKC1981-05 (T-1471) d1t09.shn	39.91 MB
disciplineKC1981-05 (T-1471) d1t10.shn	47.48 MB
disciplineKC1981-05 (T-1471) d1t11.shn	31.41 MB
disciplineKC1981-05 (T-1471) d2.md5	   962 Byte
disciplineKC1981-05 (T-1471) d2t01.shn	11.63 MB
disciplineKC1981-05 (T-1471) d2t02.shn	42.74 MB
disciplineKC1981-05 (T-1471) d2t03.shn      2.08 MB
disciplineKC1981-05 (T-1471) d2t04.shn	45.07 MB
disciplineKC1981-05 (T-1471) d2t05.shn	41.92 MB
disciplineKC1981-05 (T-1471) d2t06.shn	36.31 MB
disciplineKC1981-05 (T-1471) d2t07.shn	25.93 MB
disciplineKC1981-05 (T-1471) d2t08.shn	59.95 MB
disciplineKC1981-05 (T-1471) d2t09.shn	45.49 MB
disciplineKC1981-05 (T-1471) d2t10.shn	36.36 MB
disciplineKC1981-05 (T-1471) d2t11.shn	38.29 MB
disciplineKC1981-05 (T-1471) d2t12.shn	  8.19 MB
disciplineKC1981-05 (T-1471) d2t13.shn	33.51 MB
disciplineKC1981-05 (T-1471) d3.md5          814 Byte
disciplineKC1981-05 (T-1471) d3t01.shn	  3.33 MB
disciplineKC1981-05 (T-1471) d3t02.shn	41.58 MB
disciplineKC1981-05 (T-1471) d3t03.shn	41.17 MB
disciplineKC1981-05 (T-1471) d3t04.shn	41.87 MB
disciplineKC1981-05 (T-1471) d3t05.shn	36.25 MB
disciplineKC1981-05 (T-1471) d3t06.shn	  9.08 MB
disciplineKC1981-05 (T-1471) d3t07.shn	27.38 MB
disciplineKC1981-05 (T-1471) d3t08.shn	60.10 MB
disciplineKC1981-05 (T-1471) d3t09.shn	43.54 MB
disciplineKC1981-05 (T-1471) d3t10.shn	33.29 MB
disciplineKC1981-05 (T-1471) d3t11.shn	41.28 MB
disciplineKC1981-05 (T-1471) d4.md5	   814 Byte
disciplineKC1981-05 (T-1471) d4t01.shn	  4.05 MB
disciplineKC1981-05 (T-1471) d4t02.shn	42.15 MB
disciplineKC1981-05 (T-1471) d4t03.shn	46.26 MB
disciplineKC1981-05 (T-1471) d4t04.shn	45.67 MB
disciplineKC1981-05 (T-1471) d4t05.shn	39.28 MB
disciplineKC1981-05 (T-1471) d4t06.shn	26.49 MB
disciplineKC1981-05 (T-1471) d4t07.shn	72.12 MB
disciplineKC1981-05 (T-1471) d4t08.shn	54.36 MB
disciplineKC1981-05 (T-1471) d4t09.shn	38.40 MB
disciplineKC1981-05 (T-1471) d4t10.shn	53.38 MB
disciplineKC1981-05 (T-1471) d4t11.shn	41.14 MB
disciplineKC1981-05 (T-1471) d5.md5	   888 Byte
disciplineKC1981-05 (T-1471) d5t01.shn	19.33 MB
disciplineKC1981-05 (T-1471) d5t02.shn	42.55 MB
disciplineKC1981-05 (T-1471) d5t03.shn	42.20 MB
disciplineKC1981-05 (T-1471) d5t04.shn	45.06 MB
disciplineKC1981-05 (T-1471) d5t05.shn	33.31 MB
disciplineKC1981-05 (T-1471) d5t06.shn	23.51 MB
disciplineKC1981-05 (T-1471) d5t07.shn	54.28 MB
disciplineKC1981-05 (T-1471) d5t08.shn	42.26 MB
disciplineKC1981-05 (T-1471) d5t09.shn	32.82 MB
disciplineKC1981-05 (T-1471) d5t10.shn	43.29 MB
disciplineKC1981-05 (T-1471) d5t11.shn	30.04 MB
disciplineKC1981-05 (T-1471) d5t12.shn	43.51 MB

Total number of files  = 76
Sum of file sizes = 2266284742 Byte

Please don't alter the sound of this recording.  If you want to do something find a better quality tape of the show and work from that. Don't just take what I have done and screw with it.

For Trade or Give Away only - Do not Sell - Do not encode as MP3 or any other format which degrades the
quality of the music.

                                          February 15, 2005             T________
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)

This CD-r release is from cassette tapes that I got in trade many years ago.

Mics and Recorder unknown>
Cassette generation unknown>
Playback Deck: Tascam 130 >
Nikko 32 Band EQ >
Akai DR16 Digital Hard Disk Recorder >
HHB CDR-800 Compact Disc Recorder >
CDR  > WAV >CD Wave Editor > SHN

Robert Fripp: Guitar
Adrian Belew: Guitar, Drums and Lead Voical
Tony Levin: Bass, Stick, Synth and Vocal
Bill Bruford: Acoustic and Electric Drums and Percussions

disc 1

1981-05-07 Polytechnic Manchester, UK

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Elephant Talk #1
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Frame By Frame
10. Larks' Tongues in Aspic, Part 2
11. Elephant Talk #2

disc 2

1981-05-08 Liverpool University

1.   (intro)
2.   Discipline
3.   (Fripp greeting)
4.   Thela Hun Ginjeet
5.   Red
6.   Elephant Talk #1
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Frame By Frame
11. Larks' Tongues in Aspic, Part 2
12. (applause)
13. Elephant Talk #2

disc 3

1981-05-10 Her Majesty's Theatre, London

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Frame By Frame
6.   (Fripp speaks)
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Elephant Talk
11. Larks' Tongues in Aspic, Part 2

disc 4

1981-05-13 Captain Video, Paris France

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Jingeet
5.   Frame by Frame
6.   Matte Kudusai
7.   Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. Discipline

disc 5

1981/05/15 Paradiso, Amsterdam

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Ginjeet
5.   Frame by Frame
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. (applause)
12. Red

I removed all gaps which were a result of tape flip and change.   I also made a slight speed correction.
I did the editing, mastering, digital transfer and the artwork for this version of this show.  Please keep the artwork and text file, unaltered, together with the SHN's.

Don't rename directories or file names if you share this.

Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)

FRONT1-2.JPG	933.48 KB
FRONT3-4.JPG	933.68 KB
FRONT5.JPG	933.12 KB
BACK1-2.JPG	   3.09 MB
BACK3-4.JPG	   3.09 MB
BACK5.JPG	   3.02 MB
DISC1.JPG	913.34 KB
DISC2.JPG	913.76 KB
DISC3.JPG	913.65 KB
DISC4.JPG	913.67 KB
DISC5.JPG	913.75 KB
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471).txt	6.13 KB
Discipline (KC) 1981-05 (5 Of A Kind) (T-1471) Artwork-Text.md5
disciplineKC1981-05 (T-1471) d1.md5          814 Byte
disciplineKC1981-05 (T-1471) d1t01.shn	  1.69 MB
disciplineKC1981-05 (T-1471) d1t02.shn	39.68 MB
disciplineKC1981-05 (T-1471) d1t03.shn	46.81 MB
disciplineKC1981-05 (T-1471) d1t04.shn	44.01 MB
disciplineKC1981-05 (T-1471) d1t05.shn	35.79 MB
disciplineKC1981-05 (T-1471) d1t06.shn	26.30 MB
disciplineKC1981-05 (T-1471) d1t07.shn	58.11 MB
disciplineKC1981-05 (T-1471) d1t08.shn	51.87 MB
disciplineKC1981-05 (T-1471) d1t09.shn	39.91 MB
disciplineKC1981-05 (T-1471) d1t10.shn	47.48 MB
disciplineKC1981-05 (T-1471) d1t11.shn	31.41 MB
disciplineKC1981-05 (T-1471) d2.md5	   962 Byte
disciplineKC1981-05 (T-1471) d2t01.shn	11.63 MB
disciplineKC1981-05 (T-1471) d2t02.shn	42.74 MB
disciplineKC1981-05 (T-1471) d2t03.shn      2.08 MB
disciplineKC1981-05 (T-1471) d2t04.shn	45.07 MB
disciplineKC1981-05 (T-1471) d2t05.shn	41.92 MB
disciplineKC1981-05 (T-1471) d2t06.shn	36.31 MB
disciplineKC1981-05 (T-1471) d2t07.shn	25.93 MB
disciplineKC1981-05 (T-1471) d2t08.shn	59.95 MB
disciplineKC1981-05 (T-1471) d2t09.shn	45.49 MB
disciplineKC1981-05 (T-1471) d2t10.shn	36.36 MB
disciplineKC1981-05 (T-1471) d2t11.shn	38.29 MB
disciplineKC1981-05 (T-1471) d2t12.shn	  8.19 MB
disciplineKC1981-05 (T-1471) d2t13.shn	33.51 MB
disciplineKC1981-05 (T-1471) d3.md5          814 Byte
disciplineKC1981-05 (T-1471) d3t01.shn	  3.33 MB
disciplineKC1981-05 (T-1471) d3t02.shn	41.58 MB
disciplineKC1981-05 (T-1471) d3t03.shn	41.17 MB
disciplineKC1981-05 (T-1471) d3t04.shn	41.87 MB
disciplineKC1981-05 (T-1471) d3t05.shn	36.25 MB
disciplineKC1981-05 (T-1471) d3t06.shn	  9.08 MB
disciplineKC1981-05 (T-1471) d3t07.shn	27.38 MB
disciplineKC1981-05 (T-1471) d3t08.shn	60.10 MB
disciplineKC1981-05 (T-1471) d3t09.shn	43.54 MB
disciplineKC1981-05 (T-1471) d3t10.shn	33.29 MB
disciplineKC1981-05 (T-1471) d3t11.shn	41.28 MB
disciplineKC1981-05 (T-1471) d4.md5	   814 Byte
disciplineKC1981-05 (T-1471) d4t01.shn	  4.05 MB
disciplineKC1981-05 (T-1471) d4t02.shn	42.15 MB
disciplineKC1981-05 (T-1471) d4t03.shn	46.26 MB
disciplineKC1981-05 (T-1471) d4t04.shn	45.67 MB
disciplineKC1981-05 (T-1471) d4t05.shn	39.28 MB
disciplineKC1981-05 (T-1471) d4t06.shn	26.49 MB
disciplineKC1981-05 (T-1471) d4t07.shn	72.12 MB
disciplineKC1981-05 (T-1471) d4t08.shn	54.36 MB
disciplineKC1981-05 (T-1471) d4t09.shn	38.40 MB
disciplineKC1981-05 (T-1471) d4t10.shn	53.38 MB
disciplineKC1981-05 (T-1471) d4t11.shn	41.14 MB
disciplineKC1981-05 (T-1471) d5.md5	   888 Byte
disciplineKC1981-05 (T-1471) d5t01.shn	19.33 MB
disciplineKC1981-05 (T-1471) d5t02.shn	42.55 MB
disciplineKC1981-05 (T-1471) d5t03.shn	42.20 MB
disciplineKC1981-05 (T-1471) d5t04.shn	45.06 MB
disciplineKC1981-05 (T-1471) d5t05.shn	33.31 MB
disciplineKC1981-05 (T-1471) d5t06.shn	23.51 MB
disciplineKC1981-05 (T-1471) d5t07.shn	54.28 MB
disciplineKC1981-05 (T-1471) d5t08.shn	42.26 MB
disciplineKC1981-05 (T-1471) d5t09.shn	32.82 MB
disciplineKC1981-05 (T-1471) d5t10.shn	43.29 MB
disciplineKC1981-05 (T-1471) d5t11.shn	30.04 MB
disciplineKC1981-05 (T-1471) d5t12.shn	43.51 MB

Total number of files  = 76
Sum of file sizes = 2266284742 Byte

Please don't alter the sound of this recording.  If you want to do something find a better quality tape of the show and work from that. Don't just take what I have done and screw with it.

For Trade or Give Away only - Do not Sell - Do not encode as MP3 or any other format which degrades the
quality of the music.

                                          February 15, 2005             T________
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)

This CD-r release is from cassette tapes that I got in trade many years ago.

Mics and Recorder unknown>
Cassette generation unknown>
Playback Deck: Tascam 130 >
Nikko 32 Band EQ >
Akai DR16 Digital Hard Disk Recorder >
HHB CDR-800 Compact Disc Recorder >
CDR  > WAV >CD Wave Editor > SHN

Robert Fripp: Guitar
Adrian Belew: Guitar, Drums and Lead Voical
Tony Levin: Bass, Stick, Synth and Vocal
Bill Bruford: Acoustic and Electric Drums and Percussions

disc 1

1981-05-07 Polytechnic Manchester, UK

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Elephant Talk #1
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Frame By Frame
10. Larks' Tongues in Aspic, Part 2
11. Elephant Talk #2

disc 2

1981-05-08 Liverpool University

1.   (intro)
2.   Discipline
3.   (Fripp greeting)
4.   Thela Hun Ginjeet
5.   Red
6.   Elephant Talk #1
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Frame By Frame
11. Larks' Tongues in Aspic, Part 2
12. (applause)
13. Elephant Talk #2

disc 3

1981-05-10 Her Majesty's Theatre, London

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Frame By Frame
6.   (Fripp speaks)
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Elephant Talk
11. Larks' Tongues in Aspic, Part 2

disc 4

1981-05-13 Captain Video, Paris France

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Jingeet
5.   Frame by Frame
6.   Matte Kudusai
7.   Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. Discipline

disc 5

1981/05/15 Paradiso, Amsterdam

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Ginjeet
5.   Frame by Frame
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. (applause)
12. Red

I removed all gaps which were a result of tape flip and change.   I also made a slight speed correction.
I did the editing, mastering, digital transfer and the artwork for this version of this show.  Please keep the artwork and text file, unaltered, together with the SHN's.

Don't rename directories or file names if you share this.

Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)

FRONT1-2.JPG	933.48 KB
FRONT3-4.JPG	933.68 KB
FRONT5.JPG	933.12 KB
BACK1-2.JPG	   3.09 MB
BACK3-4.JPG	   3.09 MB
BACK5.JPG	   3.02 MB
DISC1.JPG	913.34 KB
DISC2.JPG	913.76 KB
DISC3.JPG	913.65 KB
DISC4.JPG	913.67 KB
DISC5.JPG	913.75 KB
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471).txt	6.13 KB
Discipline (KC) 1981-05 (5 Of A Kind) (T-1471) Artwork-Text.md5
disciplineKC1981-05 (T-1471) d1.md5          814 Byte
disciplineKC1981-05 (T-1471) d1t01.shn	  1.69 MB
disciplineKC1981-05 (T-1471) d1t02.shn	39.68 MB
disciplineKC1981-05 (T-1471) d1t03.shn	46.81 MB
disciplineKC1981-05 (T-1471) d1t04.shn	44.01 MB
disciplineKC1981-05 (T-1471) d1t05.shn	35.79 MB
disciplineKC1981-05 (T-1471) d1t06.shn	26.30 MB
disciplineKC1981-05 (T-1471) d1t07.shn	58.11 MB
disciplineKC1981-05 (T-1471) d1t08.shn	51.87 MB
disciplineKC1981-05 (T-1471) d1t09.shn	39.91 MB
disciplineKC1981-05 (T-1471) d1t10.shn	47.48 MB
disciplineKC1981-05 (T-1471) d1t11.shn	31.41 MB
disciplineKC1981-05 (T-1471) d2.md5	   962 Byte
disciplineKC1981-05 (T-1471) d2t01.shn	11.63 MB
disciplineKC1981-05 (T-1471) d2t02.shn	42.74 MB
disciplineKC1981-05 (T-1471) d2t03.shn      2.08 MB
disciplineKC1981-05 (T-1471) d2t04.shn	45.07 MB
disciplineKC1981-05 (T-1471) d2t05.shn	41.92 MB
disciplineKC1981-05 (T-1471) d2t06.shn	36.31 MB
disciplineKC1981-05 (T-1471) d2t07.shn	25.93 MB
disciplineKC1981-05 (T-1471) d2t08.shn	59.95 MB
disciplineKC1981-05 (T-1471) d2t09.shn	45.49 MB
disciplineKC1981-05 (T-1471) d2t10.shn	36.36 MB
disciplineKC1981-05 (T-1471) d2t11.shn	38.29 MB
disciplineKC1981-05 (T-1471) d2t12.shn	  8.19 MB
disciplineKC1981-05 (T-1471) d2t13.shn	33.51 MB
disciplineKC1981-05 (T-1471) d3.md5          814 Byte
disciplineKC1981-05 (T-1471) d3t01.shn	  3.33 MB
disciplineKC1981-05 (T-1471) d3t02.shn	41.58 MB
disciplineKC1981-05 (T-1471) d3t03.shn	41.17 MB
disciplineKC1981-05 (T-1471) d3t04.shn	41.87 MB
disciplineKC1981-05 (T-1471) d3t05.shn	36.25 MB
disciplineKC1981-05 (T-1471) d3t06.shn	  9.08 MB
disciplineKC1981-05 (T-1471) d3t07.shn	27.38 MB
disciplineKC1981-05 (T-1471) d3t08.shn	60.10 MB
disciplineKC1981-05 (T-1471) d3t09.shn	43.54 MB
disciplineKC1981-05 (T-1471) d3t10.shn	33.29 MB
disciplineKC1981-05 (T-1471) d3t11.shn	41.28 MB
disciplineKC1981-05 (T-1471) d4.md5	   814 Byte
disciplineKC1981-05 (T-1471) d4t01.shn	  4.05 MB
disciplineKC1981-05 (T-1471) d4t02.shn	42.15 MB
disciplineKC1981-05 (T-1471) d4t03.shn	46.26 MB
disciplineKC1981-05 (T-1471) d4t04.shn	45.67 MB
disciplineKC1981-05 (T-1471) d4t05.shn	39.28 MB
disciplineKC1981-05 (T-1471) d4t06.shn	26.49 MB
disciplineKC1981-05 (T-1471) d4t07.shn	72.12 MB
disciplineKC1981-05 (T-1471) d4t08.shn	54.36 MB
disciplineKC1981-05 (T-1471) d4t09.shn	38.40 MB
disciplineKC1981-05 (T-1471) d4t10.shn	53.38 MB
disciplineKC1981-05 (T-1471) d4t11.shn	41.14 MB
disciplineKC1981-05 (T-1471) d5.md5	   888 Byte
disciplineKC1981-05 (T-1471) d5t01.shn	19.33 MB
disciplineKC1981-05 (T-1471) d5t02.shn	42.55 MB
disciplineKC1981-05 (T-1471) d5t03.shn	42.20 MB
disciplineKC1981-05 (T-1471) d5t04.shn	45.06 MB
disciplineKC1981-05 (T-1471) d5t05.shn	33.31 MB
disciplineKC1981-05 (T-1471) d5t06.shn	23.51 MB
disciplineKC1981-05 (T-1471) d5t07.shn	54.28 MB
disciplineKC1981-05 (T-1471) d5t08.shn	42.26 MB
disciplineKC1981-05 (T-1471) d5t09.shn	32.82 MB
disciplineKC1981-05 (T-1471) d5t10.shn	43.29 MB
disciplineKC1981-05 (T-1471) d5t11.shn	30.04 MB
disciplineKC1981-05 (T-1471) d5t12.shn	43.51 MB

Total number of files  = 76
Sum of file sizes = 2266284742 Byte

Please don't alter the sound of this recording.  If you want to do something find a better quality tape of the show and work from that. Don't just take what I have done and screw with it.

For Trade or Give Away only - Do not Sell - Do not encode as MP3 or any other format which degrades the
quality of the music.

                                          February 15, 2005             T________
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)

This CD-r release is from cassette tapes that I got in trade many years ago.

Mics and Recorder unknown>
Cassette generation unknown>
Playback Deck: Tascam 130 >
Nikko 32 Band EQ >
Akai DR16 Digital Hard Disk Recorder >
HHB CDR-800 Compact Disc Recorder >
CDR  > WAV >CD Wave Editor > SHN

Robert Fripp: Guitar
Adrian Belew: Guitar, Drums and Lead Voical
Tony Levin: Bass, Stick, Synth and Vocal
Bill Bruford: Acoustic and Electric Drums and Percussions

disc 1

1981-05-07 Polytechnic Manchester, UK

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Elephant Talk #1
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Frame By Frame
10. Larks' Tongues in Aspic, Part 2
11. Elephant Talk #2

disc 2

1981-05-08 Liverpool University

1.   (intro)
2.   Discipline
3.   (Fripp greeting)
4.   Thela Hun Ginjeet
5.   Red
6.   Elephant Talk #1
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Frame By Frame
11. Larks' Tongues in Aspic, Part 2
12. (applause)
13. Elephant Talk #2

disc 3

1981-05-10 Her Majesty's Theatre, London

1.   (intro)
2.   Discipline
3.   Thela Hun Ginjeet
4.   Red
5.   Frame By Frame
6.   (Fripp speaks)
7.   Matte Kudasai
8.   The Sheltering Sky
9.   Indiscipline
10. Elephant Talk
11. Larks' Tongues in Aspic, Part 2

disc 4

1981-05-13 Captain Video, Paris France

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Jingeet
5.   Frame by Frame
6.   Matte Kudusai
7.   Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. Discipline

disc 5

1981/05/15 Paradiso, Amsterdam

1.   (intro)
2.   Discipline
3.   Red
4.   Thela Hun Ginjeet
5.   Frame by Frame
6.   Matte Kudasai
7.   The Sheltering Sky
8.   Indiscipline
9.   Elephant Talk
10. Larks' Tongues in Aspic, Part 2
11. (applause)
12. Red

I removed all gaps which were a result of tape flip and change.   I also made a slight speed correction.
I did the editing, mastering, digital transfer and the artwork for this version of this show.  Please keep the artwork and text file, unaltered, together with the SHN's.

Don't rename directories or file names if you share this.

Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471)

FRONT1-2.JPG	933.48 KB
FRONT3-4.JPG	933.68 KB
FRONT5.JPG	933.12 KB
BACK1-2.JPG	   3.09 MB
BACK3-4.JPG	   3.09 MB
BACK5.JPG	   3.02 MB
DISC1.JPG	913.34 KB
DISC2.JPG	913.76 KB
DISC3.JPG	913.65 KB
DISC4.JPG	913.67 KB
DISC5.JPG	913.75 KB
Discipline (King Crimson) 1981-05 (5 Of A Kind) (T-1471).txt	6.13 KB
Discipline (KC) 1981-05 (5 Of A Kind) (T-1471) Artwork-Text.md5
disciplineKC1981-05 (T-1471) d1.md5          814 Byte
disciplineKC1981-05 (T-1471) d1t01.shn	  1.69 MB
disciplineKC1981-05 (T-1471) d1t02.shn	39.68 MB
disciplineKC1981-05 (T-1471) d1t03.shn	46.81 MB
disciplineKC1981-05 (T-1471) d1t04.shn	44.01 MB
disciplineKC1981-05 (T-1471) d1t05.shn	35.79 MB
disciplineKC1981-05 (T-1471) d1t06.shn	26.30 MB
disciplineKC1981-05 (T-1471) d1t07.shn	58.11 MB
disciplineKC1981-05 (T-1471) d1t08.shn	51.87 MB
disciplineKC1981-05 (T-1471) d1t09.shn	39.91 MB
disciplineKC1981-05 (T-1471) d1t10.shn	47.48 MB
disciplineKC1981-05 (T-1471) d1t11.shn	31.41 MB
disciplineKC1981-05 (T-1471) d2.md5	   962 Byte
disciplineKC1981-05 (T-1471) d2t01.shn	11.63 MB
disciplineKC1981-05 (T-1471) d2t02.shn	42.74 MB
disciplineKC1981-05 (T-1471) d2t03.shn      2.08 MB
disciplineKC1981-05 (T-1471) d2t04.shn	45.07 MB
disciplineKC1981-05 (T-1471) d2t05.shn	41.92 MB
disciplineKC1981-05 (T-1471) d2t06.shn	36.31 MB
disciplineKC1981-05 (T-1471) d2t07.shn	25.93 MB
disciplineKC1981-05 (T-1471) d2t08.shn	59.95 MB
disciplineKC1981-05 (T-1471) d2t09.shn	45.49 MB
disciplineKC1981-05 (T-1471) d2t10.shn	36.36 MB
disciplineKC1981-05 (T-1471) d2t11.shn	38.29 MB
disciplineKC1981-05 (T-1471) d2t12.shn	  8.19 MB
disciplineKC1981-05 (T-1471) d2t13.shn	33.51 MB
disciplineKC1981-05 (T-1471) d3.md5          814 Byte
disciplineKC1981-05 (T-1471) d3t01.shn	  3.33 MB
disciplineKC1981-05 (T-1471) d3t02.shn	41.58 MB
disciplineKC1981-05 (T-1471) d3t03.shn	41.17 MB
disciplineKC1981-05 (T-1471) d3t04.shn	41.87 MB
disciplineKC1981-05 (T-1471) d3t05.shn	36.25 MB
disciplineKC1981-05 (T-1471) d3t06.shn	  9.08 MB
disciplineKC1981-05 (T-1471) d3t07.shn	27.38 MB
disciplineKC1981-05 (T-1471) d3t08.shn	60.10 MB
disciplineKC1981-05 (T-1471) d3t09.shn	43.54 MB
disciplineKC1981-05 (T-1471) d3t10.shn	33.29 MB
disciplineKC1981-05 (T-1471) d3t11.shn	41.28 MB
disciplineKC1981-05 (T-1471) d4.md5	   814 Byte
disciplineKC1981-05 (T-1471) d4t01.shn	  4.05 MB
disciplineKC1981-05 (T-1471) d4t02.shn	42.15 MB
disciplineKC1981-05 (T-1471) d4t03.shn	46.26 MB
disciplineKC1981-05 (T-1471) d4t04.shn	45.67 MB
disciplineKC1981-05 (T-1471) d4t05.shn	39.28 MB
disciplineKC1981-05 (T-1471) d4t06.shn	26.49 MB
disciplineKC1981-05 (T-1471) d4t07.shn	72.12 MB
disciplineKC1981-05 (T-1471) d4t08.shn	54.36 MB
disciplineKC1981-05 (T-1471) d4t09.shn	38.40 MB
disciplineKC1981-05 (T-1471) d4t10.shn	53.38 MB
disciplineKC1981-05 (T-1471) d4t11.shn	41.14 MB
disciplineKC1981-05 (T-1471) d5.md5	   888 Byte
disciplineKC1981-05 (T-1471) d5t01.shn	19.33 MB
disciplineKC1981-05 (T-1471) d5t02.shn	42.55 MB
disciplineKC1981-05 (T-1471) d5t03.shn	42.20 MB
disciplineKC1981-05 (T-1471) d5t04.shn	45.06 MB
disciplineKC1981-05 (T-1471) d5t05.shn	33.31 MB
disciplineKC1981-05 (T-1471) d5t06.shn	23.51 MB
disciplineKC1981-05 (T-1471) d5t07.shn	54.28 MB
disciplineKC1981-05 (T-1471) d5t08.shn	42.26 MB
disciplineKC1981-05 (T-1471) d5t09.shn	32.82 MB
disciplineKC1981-05 (T-1471) d5t10.shn	43.29 MB
disciplineKC1981-05 (T-1471) d5t11.shn	30.04 MB
disciplineKC1981-05 (T-1471) d5t12.shn	43.51 MB

Total number of files  = 76
Sum of file sizes = 2266284742 Byte

Please don't alter the sound of this recording.  If you want to do something find a better quality tape of the show and work from that. Don't just take what I have done and screw with it.

For Trade or Give Away only - Do not Sell - Do not encode as MP3 or any other format which degrades the
quality of the music.

                                          February 15, 2005             T________
Late Show

As requested by the_vargan here is a reseed of booomboom's flac files, as I downloaded them, including the artwork scanned from the bootleg "Earth Gravity."
I have included an ffp.txt file and a new md5 file along with this updated text file.
This is my first attempt to torrent albeit a torrent that is no longer on the tracker.  If I can get this right who knows what I may be able to conjure up.
Of course many thanks to two of the kings of KC here on the Dime: booomboom & the_vargan for sharing their wealth of Crimson shows & related material.

original torrent's text file:
1st copy from master tape>CDR(Philips CDR570)>wave(EAC)>flacf(8)
Got this tape in a trade in 1981 and transfered it to CDR 1999.
Good Quality,good showgreat early version of Satori ...
King Crimson played in three days (5/6/7/.November 1981) five shows
at the Savoy,I have three of them and will seed them in the next days
by request of "The Vargan".Hope you enjoy the music.Artwork is included.

Have fun booomboom

The Band :

Robert Fripp - guitar
Adrian Belew - guitar,vocals
Tony Levin - bass,back,voc.
Bill Bruford - drumming

Setlist :

01.Intro 03:54
02.Discipline 05:41
03.Thela Hun Ginjeet 08:10
04.Red 06:50
05.Matte Kudasai 04:13
06.The Sheltering Sky 10:34
07.Neal And Jack And Me 07:27
08.Frame By Frame 05:13
09.Neurotica 08:04
10.Elephant Talk 05:11
11.Drum Solo /Indiscipline 08:57
12.Santori In Tangier 05:55
13.Larks Tongues in Aspic Part II 06:26
 1st copy from master tape>CDR(Philips CDR570)>wave(EAC)>flacf(8)
 Align on sector boundaries
 Got this tape in a trade in 1981 and transfered it to CDR 1999.
 Very Good Quality,fantastic show & a great early version of Satori In 
 Tangier & a fantastic version of Elephant Talk.
 King Crimson played in three days (5/6/7/.November 1981) five shows
 at the Savoy,for quality listen to MP 3 samples.
 upped 11.07.2007 by booomboom

 The Band :

 Robert Fripp - guitar
 Adrian Belew - guitar,vocals
 Tony Levin - bass,back,voc.
 Bill Bruford - drumming

 Setlist :

 01.Discipline 07:18
 02.Thela Hun Ginjeet 07:54
 03.Red 07:18
 04.Matte Kudasai 04:14
 05.The Sheltering Sky 11:01
 06.Neal And Jack And Me 06:50
 07.Neurotica    06:06
 08.Frame By Frame 05:05
 09.Elephant Talk 05:07
 10.Drum Solo /Indiscipline 09:48
 11.Santori In Tangier 06:43
 12.Larks Tongues in Aspic Part II 06:54
original silver CD>wave(eac)>shn(mkw)
Very good recording.  Probably audience, maybe soundboard

The Band:
Robert Fripp - guitar
Adrian Belew - guitar
Bill Bruford - drums
Tony Levin - bass, stick

01. Frippertronics
02. Discipline
03. Thela Hun Ginjeet
04. Red
05. Matte Kudasai
06. The Sheltering Sky
07. Frame by Frame

01. Manhattan (The Howler w/ no vocals)
02. Percussion Intro
03. Indiscipline
04. Neal and Jack and Me
05. Elephant Talk
06. Lark's Tongues in Aspic, Part II
 A sprightly performance from all parties on this last night at Berkeley. As usual Belew makes it sound all too easy whilst the Levin bass demon doesn't so much play the material as possess it. Here the Beat-era stuff sounds noticeably buoyant and a touch more exuberant than its studio counterpart. Certainly Neil and Jack and Me and a demented Neurotica consume energy like there's no tomorrow. It's one thing to be able to make a big noise and play fast. It's another thing entirely to be able to consistently perform such demanding numbers with this kind of pinpoint accuracy. Exemplary stuff.

This recording was first released as part of the King Crimson Collectors Club but at the wrong pitch. That problem is now corrected.
Disc Number 1
1.  	Waiting Man	  [PREVIEW] 	 9.49
2.  	Thela Hun Ginjeet	  [PREVIEW] 	 8.00
3.  	Red	  [PREVIEW] 	 6.33
4.  	The Howler	  [PREVIEW] 	 5.10
5.  	Frame By Frame	  [PREVIEW] 	 5.10
6.  	Matte Kudasai	  [PREVIEW] 	 3.39
Disc Number 2
1.  	The Sheltering Sky	  [PREVIEW] 	 9.36
2.  	Discipline	  [PREVIEW] 	 5.42
3.  	Neal and Jack and Me	  [PREVIEW] 	 6.03
4.  	Neurotica    	  	 5.48
5.  	Elephant Talk	  [PREVIEW] 	 5.36
6.  	Indiscipline	  [PREVIEW] 	 10.45

Adrian Belew - Guitars, Drums, and Lead Vocal
Bill Bruford - Acoustic and Electric Drums & Percussion
Robert Fripp - Guitar
Tony Levin - Bass, Chapman Stick, Synth, and Backing Vocal

not for trade. purchase at http://www.dgmlive.com/archive.htm?artist=6&show=519
1. Waiting Man
2. Thela Hun Ginjeet
3. Matte Kudasai
4. The Sheltering Sky
5. Neil And Jack And Me
6. Elephant Talk
Bonus Tracks:
7. Indiscipline
8. Heartbeat
9. Larks' Tongues In Aspic (Part II)

not for trade
Here’s King Crimson in fine fettle near the half-way point of what would be their last American tour for eleven years.

Entry of the Crims is a particular robust affair. The sonic brutality perpetrated in this track evokes memories of Beat’s Requiem. Uncompromisingly fierce, it segues into a better than usual LTIA Pt III (full of vim and vigour) which in turn gives way to a thrashingly savage Thela, with Tony Levin providing VFM entertainment. Fifteen minutes of pure Crim mayhem and an astonishingly bold start to a gig.

Other aural highlights include a progtastic-sounding Industry (courtesy of a way-cool Bruford backbeat) and a frenzied Indiscipline wherein Adrian, even more gregarious than ever, demonstrates his command of his instrument (including its attendant hands-free technology) and crowd control.

The set here is broadly the same as Absent Lovers although this show boasts a really belting version of The Sheltering Sky, with Fripp hitting all kinds of sky-high inspirational octaves and whatnot.

One possible reason for the lack of variation in the running order might be due to the fact that KC were by this stage in their career using a click track in order to keep strict tempo on several numbers.

The concert presented here has been taken from two separate but incomplete bootlegs and nicely stitched together by DGM engineer, Alex “Stormy” Mundy, in order to recreate what the punters would have heard that night. What it lacks in sonic fidelity, it more than makes up for with its tremendous atmosphere.

Truly, this is one of the great KC take-no-prisoners shows.

Disc Number 1
1.  	Entry Of The Crims	  [PREVIEW] 	 5.50
2.  	Larks' Tongues In Aspic Pt III	  [PREVIEW] 	 5.08
3.  	Thela Hun Ginjeet	  [PREVIEW] 	 6.41
4.  	Red	  [PREVIEW] 	 5.56
5.  	Frame By Frame	  [PREVIEW] 	 3.28
6.  	Matte Kudasai	  [PREVIEW] 	 3.43
7.  	Industry	  [PREVIEW] 	 7.46
8.  	Dig Me	  [PREVIEW] 	 4.09
9.  	Three Of A Perfect Pair	  [PREVIEW] 	 4.43
10.  	Indiscipline	  [PREVIEW] 	 10.56
11.  	Sartori In Tangier	  [PREVIEW] 	 4.32
Disc Number 2
1.  	Waiting Man	  [PREVIEW] 	 6.38
2.  	Man With An Open Heart	  [PREVIEW] 	 3.38
3.  	Sleepless	  [PREVIEW] 	 6.34
4.  	Larks' Tongues In Aspic Pt II	  [PREVIEW] 	 9.09
5.  	Discipline	  [PREVIEW] 	 5.03
6.  	Heartbeat	  [PREVIEW] 	 5.35
7.  	The Sheltering Sky	  [PREVIEW] 	 7.47
8.  	Elephant Talk	  [PREVIEW] 	 5.12

Fripp Belew Levin Bruford
Audio Source: Good Quality Bootleg

not for trade. purchase from http://www.dgmlive.com/archive.htm?artist=6&show=564
H.O.R.D.E. Festival

Schoeps MK2S > Rbox > Tascam DA-P1 > Zefiro ZA2 > Sound Forge 4 > CD Architect > CD > EAC > SHN

Recorded by John Horzepa, Bill Reutelhuber and David Avery
Mastered by David Avery

Band line-up

The Double Trio
Robert Fripp: Guitar and Soundscapes
Adrian Belew: Guitar and Voice
Trey Gunn: Touch guitar and backing Vocals
Tony Levin: Bass, stick and Backing Vocals
Bill Bruford & Pat Mastelotto: Acoustic & Electric Percussions


1. Conundrum
2. Thela Hun Jinjeet	
3. Red
4. Dinosaur >
5. Dinosaur (end)
6. Waiting Man
7. Soundscape > B'Boom > Thrak
8. Vrooom / Coda: Marine 475
9. Elephant Talk
10. Larks' Tongues In Aspic Part II 

Sound: B
01. Into The Frying Pan
02. The ConstruKCtion of Light
03. The World's My Oyster Soup Kitchen Floor Wax Museum
04. Heaven & Earth
05. Dinosaur
06. One Time
07. Cage
08. Sex Sleep Eat Drink Dream
10. FraKCtured
11. ProzaKC Blues

01. Lark's Tongue in Aspic: Part IV ->
	Coda: I Have a Dream
02. Three of a Perfect Pair
03. Deception of the Thrush
04. Heroes
    GREETING: “From R. Fripp”

Sound Board > WAV > CDWav > FLAC FrontEnd
01. ProzaKC Blues
02. The ConstruKCtion of Light
03. The World's My Oyster Soup Kitchen Floor Wax Museum
04. FraKCtured...
05. ...FraKCtured
06. Dinosaur
07. One Time
08. Cage
09. Sex Sleep Eat Drink Dream
11. Heaven & Earth
12. Into The Frying Pan

01. Larks' Tongues In Aspic: Part IV ->
      Coda: I Have A Dream
02. Three of a Perfect Pair
03. The Deception of the Thrush
04. Heroes

Sound Board > WAV > CDWav > FLAC FrontEnd

  1. Larks' Tongues In Aspic: Part IV ->
      Coda: I Have A Dream
  2. The ConstruKCtion of Light
  3. ProzaKC Blues
  4. FraKCtured
  5. Dinosaur
  6. One Time
  7. Cage
  8. The World's My Oyster Soup Kitchen Floor Wax Museum
  9. Into The Frying Pan

  1. The Deception of the Thrush
  2. Sex Sleep Eat Drink Dream
  4. Three of a Perfect Pair
  5. Heroes

Sound Board > Sony DAT TDC-D8 @44 > RMR D100 > WAV > CDWav > FLAC
Excellent audience recording, good show.

Lineage: Traded cdr>EAC>wav>Flac level 8

1. Into the Frying Pan
2. The ConstruKction of Light
3. Improvisations
4. Dinosaur
5. One Time
6. Vrooom
7. FraKctured
8. The World's My Oyster Soup Kitchen Floor Wax Museum

1. Improvisations
2. Cage
3. Larks' Tongues In Aspic, Part IV
4. Coda: I Have A Dream
5. Three Of A Perfect Pair
6. Deception Of The Thrush
7. Sex, Sleep, Eat, Drink, Dream

Robert Fripp: Guitar and Soundscapes - Adrian Belew: Guitar, Voice and Words - Trey Gunn: Stick and backing Vocals - Pat Mastelotto: Acoustic & Electric Percussions
“The Paris show, tonight, was a true winner” enthuses Trey Gunn in his diary at the time. “The audience gets a nine out of ten in my book. (Nobody gets a ten, so be happy Paris.) They were fantastic. They came purely to listen and receive. And that is a true treasure for a musician. The band also played very well. I couldn't say if it was our best played show. But, overall it was great.”

In the past, Gunn and Fripp have had diametrically opposing experiences of a show whilst on the very same bandstand. So what did the Happy Gigster of Dorset make of it? “This audience was, for me, the best audience of the tour: supportive, considerate, sophisticated, responsive, engaged, active… In response to their support & demand, we gave a good performance. Not perfect, but when you take a shot, sometimes you miss. Somehow, that doesn't always matter & tonight it didn't.”

This leg of the tour was producing some great results with the band really delving deep into the music: The material from TCOL is bedded down and there’s a real authority to the performance. Even the muffed notes in the frenzied section of FraKctured have the frisson of an on-the-ropes comeback. Of all the shows currently available on DGM Live, from this tour, Paris (to these ears at least) is probably the hottest date of the lot. It’s no wonder therefore that when it came to cherry picking the best tracks for the Heavy ConstruKction box set, ProzaKc, Larks’ IV and Thrush were taken from this gig. The five minute improvisation, Sapir, from HC set appears in its full unedited 13 minute form.
Highly recommended.
Disc Number 1
1.  	Into The Frying Pan	  	 6.42
2.  	The ConstruKction Of Light	  	 8.43
3.  	ProzaKc Blues	  	 5.25
4.  	Improv	  	 14.07
5.  	Dinosaur	  	 5.33
6.  	One Time	  	 5.37
7.  	Sex Sleep Eat Drink Dream	  	 5.05
8.  	FraKctured    	  	 9.13
9.  	The Worlds' My Oyster Soup Kitchen Floor Wax Museum	  	 7.32
Disc Number 2
1.  	Cage	  	 5.35
2.  	Larks' Tongues In Aspic Pt IV	  	 13.56
3.  	Three Of A Perfect Pair	  	 3.54
4.  	The Deception Of The Thrush	  	 9.23
5.  	VROOOM	  	 6.24
6.  	Heroes	  	 6.08

Fripp Belew Mastelotto Gunn

Not for trade. Purchase this recording at http://www.dgmlive.com/archive.htm?artist=13&show=800
It's a fact that Barcelona is one of the most exciting cities in Europe and it's also a fact that King Crimson is one the most exciting bands in concert. So, put these two incontrovertible facts together and we have ourselves a show with a real "Wow!" factor. This is King Crimson on take-no-prisoners mode at a sell out gig in a city they last played 18 years ago.

Throughout the concert they play fast and loose: Frying Pan is raw and edgy;
Pat unleashes the beast during Vrooom – refashioned here into a riotous collision between the V-Drum splashes and the front line.

Belew is simply astonishing throughout Oyster Soup: a wild vocal followed up by an even wilder solo that bends and screeches its way into every corner of the hall. At the end you'll hear a "Yo" with a West Country accent by way of endorsement.

Although a couple of minutes of the lengthy improv appeared on Heavy ConstruKction, you get the full monty here. It's a PM drum n' bass spectacular and when Fripp layers in the Seizure chords something really begins to open up in the music. Listen out for Gunn's outrageous solo over Bobby Willcox's walking bass – no wonder he gets a round of applause from the punters.

Please note that in addition to an edit of Improv 1, Sex, Eat, Sleep, Drink, Dream also appeared on Heavy ConstruKction.

Disc Number 1
1.  	Into The Frying Pan	  [PREVIEW] 	 6.51
2.  	The ConstruKction Of Light	  [PREVIEW] 	 8.46
3.  	ProzaKc Blues	  [PREVIEW] 	 5.31
4.  	Improv I	  [PREVIEW] 	 13.10
5.  	Dinosaur	  [PREVIEW] 	 5.34
6.  	One Time	  [PREVIEW] 	 6.08
7.  	Sex Sleep Eat Drink Dream	  [PREVIEW] 	 4.42
8.  	The Worlds My Oyster Soup Kitchen Floor Wax Museum	  [PREVIEW] 	 7.45
9.  	Improv II	  [PREVIEW] 	 5.13
10.  	Cage	  [PREVIEW] 	 5.14
Disc Number 2
1.  	VROOOM	  [PREVIEW] 	 7.08
2.  	Three Of A Perfect Pair	  [PREVIEW] 	 3.52
3.  	Deception Of The Thrush	  [PREVIEW] 	 8.52
4.  	Larks Tongues In Aspic Pt IV	  [PREVIEW] 	 12.57

Adrian Belew - Guitars, Vocals
Robert Fripp - Guitars, Soundscapes
Trey Gunn - Warr Guitar
Pat Mastelotto - Traps and Buttons

Not for trade. Purchase here: http://www.dgmlive.com/archive.htm?artist=13&show=801
What a difference a day makes. Here the band sound looser and, in places, somewhat distracted. "We had constant small mistakes: pedals pressed when they shouldn't be, or not pressed when they should have been; a monitor man looking away as he was needed so notes got dropped; effect programmes out of sequence or dumped" Fripp noted in his diary.

Certainly the mistakes produced some interesting arisings; in Vrooom there’s a head-on collision between Fripp and Belew resulting in tumbling freefall of guitars which they manage to pull out of but only at the last minute; Oyster Soup has an utterly wild ending and a tentative reading of FraKctured seems to vindicate Fripp’s assessment that "the centre managed to escape us, for no easily apparent reason."

Not everyone in the band agreed of course. Belew felt it to be a solid performance and he is on especially fine form tonight turning in some jaw-dropping solos on Oyster Soup and LTIA pt IV. Ade also leads off on the improvisation which Fripp later declared to be "the feeblest improv of this tour." Don’t believe a word of it. This is a good one, which you'll know as it was included (albeit in a remixed form retitled Beautiful Rainbow) on Heavy ConstruKction, as was tonight's Thrush. An uneven show for sure but not without merit or appeal.

Disc Number 1
1.  	Into The Frying Pan	  [PREVIEW] 	 6.29
2.  	The ConstruKction Of Light	  [PREVIEW] 	 8.37
3.  	Improv I	  [PREVIEW] 	 7.20
4.  	Dinosaur	  [PREVIEW] 	 6.00
5.  	One Time	  [PREVIEW] 	 5.43
6.  	VROOOM	  [PREVIEW] 	 4.36
7.  	The Worlds My Oyster Soup Kitchen Floor Wax Museum	  [PREVIEW] 	 7.46
8.  	FraKctured	  [PREVIEW] 	 9.12
9.  	Cage	  [PREVIEW] 	 5.37
10.  	ProzaKc Blues	  [PREVIEW] 	 6.02
Disc Number 2
1.  	Larks Tongues In Aspic Pt IV	  [PREVIEW] 	 14.20
2.  	Three Of A Perfect Pair	  [PREVIEW] 	 3.46
3.  	Deception Of The Thrush	  [PREVIEW] 	 9.33
4.  	Heroes	  [PREVIEW] 	 5.46

Adrian Belew - Guitars, Vocals
Robert Fripp - Guitars, Soundscapes
Trey Gunn - Warr Guitar
Pat Mastelotto - Traps and Buttons

Audio Source: Dat Tape Direct From Soundboard

Not for trade. Purchase here: http://www.dgmlive.com/archive.htm?artist=13&show=802
 As the European tour inched closer to its conclusion in London,Crimson delivered a tighter set than the preceding night in San Sebastian. Even so, it’s interesting to hear that Vrooom shares the same “phase shift” as Barcelona, only this time it seems the backline go out of phase with the front line. Was this a new arrangement being tried out or merely just a persistent brown moment brought about by dodgy monitoring?

Oyster Soup is brilliantly out of kilter in exactly the way it should be, rocking and rolling from side to side like a ship in a storm. Belew’s guitar is playful throughout offering up a sensational solo and a hilarious mid-song plea for no pictures.

Non-consensual photography and recording was a key factor in robbing this particular concert of one KC classic in particular. As Fripp noted in his diary at the time “As "FraKctured" came closer in the set, I was thinking: there has been some re-equilibration; perhaps the photography has stopped. The centre is coming together. We'll do "FraKctured". Then, flash. So, tonight no "Fractured"

Despite this set back there are a couple of strong improvisations (which appeared in a highly edited form on Heavy ConstruKction) which hint at the might-have-been nature of the ProjeKcts experiments. Listen out for arguably the strongest rendition of Heroes.Mastelotto blows off the doors at the back to great effect, moving the pulse of the tune to grind it out against the beat and the boys at the front who undaunted by Pat’s rhythmic detonations, manfully keep swinging.

Disc Number 1
1.  	Into The Frying Pan	  [PREVIEW] 	 6.32
2.  	The ConstruKction Of Light	  [PREVIEW] 	 9.09
3.  	VROOOM	  [PREVIEW] 	 4.18
4.  	Improv I	  [PREVIEW] 	 11.56
5.  	One Time	  [PREVIEW] 	 5.52
6.  	Dinosaur	  [PREVIEW] 	 5.39
7.  	The Worlds My Oyster Soup Kitchen Floor Wax Museum	  [PREVIEW] 	 7.29
8.  	Improv II	  [PREVIEW] 	 5.58
9.  	Cage	  [PREVIEW] 	 5.07
10.  	ProzaKc Blues	  [PREVIEW] 	 5.54
Disc Number 2
1.  	Larks Tongues In Aspic Pt IV	  [PREVIEW] 	 13.57
2.  	Three Of A Perfect Pair	  [PREVIEW] 	 3.49
3.  	Deception Of The Thrush	  [PREVIEW] 	 10.07
4.  	Sex Sleep Eat Drink Dream	  [PREVIEW] 	 7.14
5.  	Heroes	  [PREVIEW] 	 5.27

Adrian Belew - Guitars, Vocals
Robert Fripp - Guitars, Soundscapes
Trey Gunn - Warr Guitar
Pat Mastelotto - Traps and Buttons

Not for trade. Purchase here: http://www.dgmlive.com/archive.htm?artist=13&show=803
Source: Neumann mics>DAT

Set List:

Disc 1
1. Intro
2. Vrooom
3. Thela Hun Ginjeet
4. The ConstruKction Of Light
5. FraKctured 
6. Frame by Frame
7. One Time 
8. Improvisation 1
9. Improvisation 2
10. The World's My Oyster Soup Kitchen Floor Wax Museum

Disc 2
1. Cage
2. Larks' Tongues in Aspic Part IV
3. Coda: I Have A Dream
4. Elephant Talk
5. I Left My Heart In San Francisco
6. Three of Perfect Pair
7. Deception of the Thrush
8. Red
9. Heroes 
Eyes Wide Open Tour
Fripp Belew Gunn Mastelotto
2CDs 91min 
DAUD>CSB>bass filter on>Sony D100>WAV>FLAC
1st Gen	

The Power To Believe I: A Cappella
Level Five
ProzaKc Blues
ConstruKction Of Light
Facts Of Life
The Power To Believe II
One Time
Happy With What You Have To Be Happy With

Larks' Tongues In Aspic IV/Coda
Deception Of The Thrush
AUD > ? > CDR > EAC > FLAC(8)

1. preshow/soundscapes
2. Dangerous Curves
3. The ConstruKction of Light
4. Into The Frying Pan
5. Level 5
6. Deception of the Thrush
7. Larks' Tongues In Aspic, Part IV > Coda
8. Thela Hun Ginjeet
9. Red

Robert Fripp: Guitar and Soundscapes
Adrian Belew: Guitar, Voice and Words
Trey Gunn: Stick and backing Vocals
Pat Mastelotto: Acoustic & Electric Percussions
I saw this concert and I can honestly say I've seen anything better before or since. I received this recording of the entire show shortly afterwards from someone kind enough to send it to me for just blanks and postage. The sound is pretty good for an audience recording.

This version might have been edited (by myself) from the original cds I recieved. I say "might" because it's been a quite a while since I listened to the recording. I know I have the originals and I know I edited the original and burned copies of them. I could only find one pair of cds of this show (didn't search my entire collection since I don't have access to all of it atm). I don't know which one this is since neither of the copies were labelled (just shows how important it is to do it properly).

I'm pretty sure this is the edited version.. The difference from the original is:
1) The volume has been increased slightly (the original had a very low volume but it could be increased quite a bit without clipping). 
When listening to this version the volume was alright, so I'm guessing this is "my version" of this recording.
2) Applause and such has been moved after tracks instead of before them. If I'm not mistaken the original had a few tracks that didn't start until 1-2 minutes in.
Belew and/or Fripp (can't remember who) screwed up Red twice (Red In The Face Parts I & II) but got it on the third attempt. I'm fairly sure these bloopers were part of the Red track at first.

Track List:

Disc 1 (65 min):

Soundscape (9:22)
The Power To Believe I - A Capella (0:40)
Level Five (7:32)
The ConstruKction Of Light (8:37)
Facts Of Life (5:42)
ProzaKc Blues (5:28)
The Power To Believe II (8:21)
Dinosaur (7:19)
Elektrik (8:08)
Happy With What You Have To Be Happy With (3:54)

Disc 2 (46 min):

Dangerous Curves (5:32)
Larks' Tongues In Aspic (Part IV) (12:43)
The Deception Of The Thrush (7:40)
Frame By Frame (7:38)
Elephant Talk (4:28)
Red In The Face (Part I) (0:18)
Red In The Face (Part II) (0:31)
Red (6:57)
Touring with what many observers concluded was their strongest album for many years, the beastly Crim appeared to be in buoyant health as they played Europe, but as we all know, appearances can be deceptive. “Let Me remind you one more time, please don’t take a picture. Especially of him” says Adrian after a truly blazing Level Five.

Fripp’s aversion to flash photography had culminated in him repositioning his rig so that he was almost facing the band rather than have the audience in his sight-lines. Despite worries in his diary about the cumulative effect that all of this was having upon his playing and that of the group, Crimson still turn in a powerful performance.

True, Vrooom is somewhat tentative but an astringent rendition of Dinosaur, a cavernous-sounding PTBII (complete with sampled thunder) and a glistening Gunn solo during Deception provide plenty in way of compensation. The further into the gig you get the better the vibe between the musicians. Pretty much everything from Happy really cooks and in the case of Dangerous Curves seems to go beyond anything previously attempted to date.

Whatever reservations RF might have had about the concert one eyewitness reports that at the end of the evening “he went out from the darkness of the stage and applauded to everybody, to all the audience, as a farewell of a good performance, which is a not usual attitude on Mr. Fripp, like you know very well." Thanks to Jose Correa Caro and his 17 year old son who requested this concert be made available.

Disc Number 1
1.  	Announcement	  	 1.35
2.  	The Power To Believe I	  	 0.50
3.  	Level 5	  	 7.33
4.  	ProzaKc Blues	  	 5.20
5.  	The ConstruKction Of Light	  	 8.34
6.  	Facts Of Life   	  	 5.35
7.  	ELEKTRIK	  	 7.50
8.  	The Power To Believe II	  	 8.13
9.  	VROOOM	  	 4.18
10.  	Dinosaur	  	 6.15
11.  	Happy With What You Have To Be Happy With	  	 4.07
Disc Number 2
1.  	Dangerous Curves	  	 5.00
2.  	Larks' Tongues In Aspic Pt IV	  	 12.13
3.  	The Power To Believe III	  	 7.24
4.  	Frame By Frame	  	 6.30
5.  	The Worlds My Oyster Soup Kitchen Floor Wax Museum	  	 6.44
6.  	Red	  	 6.27

Fripp Belew Mastelotto Gunn

Not for trade. Purchase this recording at http://www.dgmlive.com/archive.htm?artist=13&show=987
1 	L'aer du temp 	
2 	La Lune Planante 	
3 	Pleyel Retour 	

Performed by: 	Klaus Schulze
A very early radio broadcast. One of the historic classic concerts from the "Moondawn" tour.
Type the text for 'New Tiddler'
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No other info available.
Forest National (Vorst Nationaal), Brussels (bootleg)  	
28 November 1980
  	CD 1
1 	Track 1 	
2 	Track 2 	
  	CD 2
1 	Track 3 	
	  	Encore 1
2 	Track 4 	
	  	Encore 2
Recorded: 	28 November 1980, Forest National (Vorst Nationaal), Brussels, Belgium
First Release: 	-
Performed by: 	Klaus Schulze, Manuel Göttsching (guitar) & Tommy Betzler (percussion).
"Contact: UFO 80".
In the background of this concert a film (by Claus Cordes and Klaus Schulze) was showing. 
St. Thomas Kirche, Berlin (bootleg)  	
24 November 1981
1 	Track 1 	
2 	Track 2 	
3 	Track 3 	
Recorded: 	24 November 1981 in the St. Thomas Kirche, Mariannenplatz (Kreuzberg), Berlin
Release: 	-
Performed by: 	Klaus Schulze & Manuel Göttsching 
CD 1
1 	Track 01 	
2 	Track 02 	
3 	Track 03 	
4 	Track 04 	
  	CD 2
1 	Track 01 	
2 	Track 02 	
3 	Track 03 	
4 	Track 04 	
5 	Track 05 	
6 	Track 06 	
7 	Track 07 	
Recorded: 	17 February 1985, Batschkapp Frankfurter Kulturzentrum
First Release: 	-
Performed by: 	Klaus Schulze & Rainer Bloss 
Live under the Blue Moon (bootleg)  	
19 May 1997
1 	Intro 	
	  	Wolfgang Kraesze
2 	Set 1 (Carpe Diem) 	
	  	Klaus Schulze & Roelof Oostwoud
3 	Have Fun 	
	  	Klaus Schulze
4 	Set 2 	
	  	Klaus Schulze & Jörg Schaaf
5 	Set 3 	
	  	Klaus Schulze, Manuel Göttsching, Jörg Schaaf & Roelof Oostwoud
6 	Thank You 	
7 	Encore 	
	  	Klaus Schulze, Manuel Göttsching & Jörg Schaaf
8 	Goodbye 	
	  	Wolfgang Kraesze & Klaus Schulze
Recorded: 	19 May 1997, Studio A, ORB, from Radio Fritz, Berlin-Babelsburg
First Release: 	-
Performed by: 	Klaus Schulze(Minimoog, Roland JD-800, E-MU E4K), Jörg Schaaf (Cyber-6, Minimoog, Rave-o-lution, Polymorph), Roelof Oostwoud (vocals), Manuel Göttsching (Fender Stratocaster)
Concert and live broadcast "Die Klaus Schulze Nacht". Announcer: Wolfgang Kraesze.
No info
1  	An electronic heatwave  	
2 	The dub side of the Solar Moon 	
	  	Solar Moon featuring Klaus Schulze
Recorded: 	21 August 1999, Müngersdorfer Schwimmstadion, Köln, Germany
First Release: 	-
Performed by: 	Klaus Schulze & Solar Moon Soundsystem
Forty other acts were signed for this festival, mostly DJs who performed their techno music on four stages for an audience of 15.000. Klaus was scheduled for 11.30PM, but appeared at 0.45PM. He gave an excellent performance from around the Contemporary Works I set.
There also was a combined performance of Klaus Schulze with the Colonian DJ/Musician collective 'Solar Moon'.
1. Intro by Fripp
2. Inductive Resonance
3. Trap
4. Heptaparaparshinokh
5. Thrang Thrang Gozinbulx I
6. Boy At Piano
7. Christian Children Marching, Singing
8. Dislocated
9. unreleased song ?
10. Minor Man
11. Thrang Thrang Gozinbulx II
12. Ooh! Mr. Fripp

Robert Fripp: Guitar
Barry Andrews: Organ
Sara Lee: Bass
Johnny Toobad: Drums
2 Source AUD

Eddie's Notes:

This is a combination of two audience recordings:

Source 1, Unknown gen -> DAT -> CD-R 
Source 2, 3rd gen -> DAT -> CD-R

Source 1 has better sound and was used where possible. Source 2 was used
for a part of Dazed and in various places between songs.

Source 1 is the better known recording, the one described by Luis Rey as
"three-dimensional". The sound is nice but the recording suffers from
instability in one channel, resulting in a panning effect that is quite
off-putting in places. The version I have used is of unknown generation.
I have come across numerous copies of this source that claim to be 2nd,
3rd gen etc., but they have sounded inferior.

There is, for example, a version available in trading circles as "2nd
gen -> DAT -> CDR" on which the channel problems have been eliminated
by, for the most part, throwing away the unstable channel and producing
a mono version consisting of the stable channel only. Not only does this
lose the impressive stereo of the recording, but it also has a
detrimental effect on the overall sound quality as, for some reason, the
channel with the dropouts has a warmer sound with more bottom end. I was
looking forward to hearing the recent Live Remains "Cold Sweat" release
as I had read some good reviews but, on listening to it, I was
disappointed to find that it appeared to have been made from this "mono"
version. It seems to be a commonly held opinion that this release is an
improvement over previous releases such as Cobla's "Custard Pie", but I
can't agree. Not for the first time, I have to conclude that people are
far too quick to proclaim any new release as an upgrade without actually
bothering to compare it to earlier versions.

I did consider using more of source 2 for the parts of the show that are
worst affected by the channel dropouts, such as Rain Song and Dazed, but
the sound is clearly inferior on source 2. It was a difficult decision,
and one that had put me off tackling this show on a number of previous
occasions, but my preference in the end was to use all available
material from source 1. The channel dropouts are an annoyance but, in my
opinion, it was much better to live with them than to get rid of them
but also lose so much that is good about this recording. Those who find
the channel dropouts unacceptable are welcome to disagree and to prefer
other versions of the show, such as Cold Sweat.

CD 1
1. Rock and Roll
2. Over the Hills and Far Away
3. Black Dog
4. Misty Mountain Hop  
5. Since I've Been Loving You	
6. Bron-Yr-Aur Stomp
7. The Song Remains the Same
8. The Rain Song

CD 2 
1. Dazed And Confused
2. Stairway To Heaven
3. Whole Lotta Love (medley)
4. Heartbreaker

Dazed And Confused
Stairway To Heaven
Moby Dick
Whole Lotta Love
Dancing Days
Rock and Roll
Sick Again
Over the Hills and Far Away
In My Time of Dying
The Song Remains the Same
The Rain Song

No Quarter
Trampled Underfoot
Moby Dick

Dazed and Confused
Stairway to Heaven
Whole Lotta Love
Black Dog
(Empress Valley) 
Original Silvers [EVSD 263/264/265]>EAC>TLH>FLAC
Track listing: 

Disc one (54:22): 
(1) Rock and Roll (4:07) 
(2) Sick Again (6:14) 
(3) Over The Hills And Far Away (8:18) 
(4) In My Time Of Dying (12:15) 
(5) The Song Remains The Same (5:35) 
(6) The Rain Song (8:59) 
(7) Kashmir (8:54) 

Disc two (65:33): 
(1) No Quarter (31:47) 
(2) Trampled Underfoot (8:03) 
(3) Moby Dick (25:43) 

Disc three (54:56): 
(1) Dazed and Confused (33:13) 
(2) Stairway To Heaven (12:33) 
(3) Heartbreaker (9:10) 


When this boot originally surfaced in early 2004, it was a BIG deal in the Zeppelin collecting community. For many years, the best-sounding Zeppelin soundboards in circulation were either horrid performance (e.g. Cleveland 4/27/77) or mediocre performances with poor setlists (e.g. Europe 1980). A flood of boards has arrived in the last few years which, fortunately, sonically do the band justice and capture the band at their height. 

This is the best of the bunch, in my opinion. March 1975 was a special time for the band as they played a string of high-energy, brilliant performances culminating in a three-night run at the L.A. Forum. This show had always been an afterthought by collectors because the common audience recording circulating from this night was quite mediocre (Mike Millard must have had other plans that night). However, in its full sonic, stereo-soundboard glory, this one's a must-have. 
Disc 1
1. Rock 'n' Roll
2. Sick Again
3. Over the Hills and Far Away
4. In My Time of Dying
5. The Song Remains the Same
6. The Rain Song
7. Kashmir
8. No Quarter (audience patch at very end)

Disc 2
1. Tangerine (from 1975-05-24)
2. Going to California
3. That's the Way
4. Bron-Y-Aur Stomp
5. Trampled Underfoot
6. Moby Dick
7. No Quarter (from 1975-05-24)

Disc 3
1. Dazed and Confused
2. Stairway to Heaven
3. Whole Lotta Love
4. Black Dog
5. Heartbreaker
6. Communication Breakdown
7. Tangerine (audience, from 1975-05-25)
Soundboard recording
"Bringing Down The House" Empress Valley SD 2003

1. The Song Remains the Same 
2. Sick Again 
3. Nobody's Fault But Mine 
4. In My Time of Dying 
5. Since I've Been Loving You 
6. No Quarter 
7. Ten Years Gone 
8. The Battle of Evermore 
9. Going to California 
10. Dancing Days
11. Black Country Woman 
12. Bron-Y-Aur Stomp 
13. White Summer / Black Mountain Side 
14. Kashmir 
15. Over the Top / Moby Dick 
16. Guitar Solo 
17. Achilles Last Stand 
18. Stairway to Heaven 
19. Whole Lotta Love
20. Rock and Roll
Silver Rarities Master Series

My Silvers > EAC > WAVE > SHN

Disc 1
2.The Song Remains The Same
3.Sick Again 
4.Nobody's Fault But Mine 
5.Over The Hills And Far Away 
6.Since I've Been Loving You 
7.No Quarter

Disc 2
1.Ten Years Gone 
2.The Battle Of Evermore 
3.Going To California 
4.Black Country Woman 
5.Bron-yr-Aur Stomp 
6.White Summer-Black Mountain Side 
8.Moby Dick

Disc 3
2.Jimmy Page Guitar Solo
3.Achilles Last Stand
4.Stairway To Heaven
5.Whole Lotta Love-Rock And Roll
Tarantura 2000 [TCD-YUZUKI-3]
3 cd

Silvers > EAC > WAVE > SHN

Disc 1
2.The Song Remains The Same
3.The Rover Intro 
4.Sick Again 
5.Nobody's Fault But Mine 
6.Over The Hills And Far Away 
7.Since I've Been Loving You 
8.No Quarter

Disc 2
1.Ten Years Gone 
2.The Battle Of Evermore 
3.Going To California 
4.Black Country Woman 
5.Bron-yr-Aur Stomp 
6.White Summer
7.Black Mountain Side 
9.Trampled Underfoot

Disc 3 
1.Out On The Tiles-Moby Dick
2.Guitar Solo
3.Achilles Last Stand
4.Stairway To Heaven
5.Whole Lotta Love
6.Rock And Roll

This is the new Tarantura release of the Forum show with Keith 
Moon joining the group at the end of the show. 

 The bulk of this show was taped by Mike Millard (from Sick Again onward)
The story goes he accidentally hit the pause button and missed the very beginning of the show.
 The sound quality is excellent on the Millard portion. 
 This show is considered by many to be one of the very best from the 1977 tour. Check out the No Quarter, it alone is worth the download.

This double-DVD set includes over five hours of never-before-available concert and performance footage from Led Zeppelin, spanning the years 1969 to 1979. While enthusiasts have been trading poor quality versions of this material for years, this marks the first archival video release to contain any footage of the band playing live. The main feature on the first disc includes highlights of the band's legendary set at the Royal Albert Hall on January 9, 1970. If there was ever any doubt of the power and intricate legerdemain of Jimmy Page (guitar), Robert Plant (vocal/harmonica), John Paul Jones (bass/keyboards/mandolin), and John Bonham (drums), this performance will silence all detractors. The dozen songs from this show are derived primarily from their first two LPs with a few well-chosen covers thrown in for good measure. One particularly interesting inclusion is Plant's spontaneous incorporation of a few lines from Neil Young's "Down by the River" and "On the Way Home" during an epic "How Many More Times." Supplementary shorts on disc one feature a promotional video for "Communication Breakdown" -- with the band miming to a pre-recorded audio track -- a half-hour mini-show for Danish Television, a clip of "Dazed and Confused" from the British TV program Supershow, and a pair of tunes ("Communication Breakdown" and "Dazed and Confused") for the French TV show Tous en Scene. The second DVD fast forwards to the '70s and continues with a trio of main attractions and a slew of extras. First up is a composite video for "Immigrant Song," which contains some amateur footage married to a previously unissued live version of the song. This is followed by outtakes from the motion picture Song Remains the Same (1976), which finds the quartet at Madison Square Garden in 1973. The oft-bootlegged 1975 Earls Court is up next highlighted by acoustic renderings of "Going to California" and "That's the Way." The last extended set finds Zep during their triumphant return to England in 1979. It would ultimately be a bittersweet affair as it was likewise their final performance in their homeland prior to the death of Bonham the following year. Extras on disc two include a few interview clips, promotional videos for "Over the Hills and Far Away," and "Travelling Riverside Blues" -- both circa the Led Zeppelin (1990) four-CD box set.
  	  	1 	  	We're Gonna Groove 	Bethea, King 	 
  	  	2 	  	I Can't Quit You Baby 	Dixon 	 
  	  	3 	  	Dazed and Confused 	Page 	 
  	  	4 	  	White Summer 	Page 	 
  	  	5 	  	What Is and What Should Never Be 	Page, Plant 	 
  	  	6 	  	How Many More Times 	Bonham, Jones, Page 	 
  	  	7 	  	Moby Dick 	Bonham, Jones, Page 	 
  	  	8 	  	Whole Lotta Love 	Bonham, Dixon, Jones, Page ... 	 
Composed by:	Bonham, Dixon, Jones, Page, Plant
  	  	9 	  	Communication Breakdown 	Bonham, Jones, Page 	 
  	  	10 	  	C'mon Everybody 	Capehart, Cochran 	 
  	  	11 	  	Somethin' Else 	Cochran, Sheeley 	 
  	  	12 	  	Bring It on Home 	Dixon, Page, Plant 	 
  	  	13 	  	Immigrant Song 	Page, Plant 	 
  	  	14 	  	Black Dog 	Jones, Page, Plant 	 
  	  	15 	  	Misty Mountain Hop 	Jones, Page, Plant 	 
  	  	16 	  	Since I've Been Loving You 	Jones, Page, Plant 	 
  	  	17 	  	The Ocean 	Bonham, Jones, Page, Plant 	 
  	  	18 	  	Going to California 	Page, Plant 	 
  	  	19 	  	That's the Way 	Page, Plant 	 
  	  	20 	  	Bron-Y-Aur Stomp 	Jones, Page, Plant 	 
  	  	21 	  	In My Time of Dying 	Bonham, Jones, Page, Plant 	 
  	  	22 	  	Trampled Under Foot 	Jones, Page, Plant 	 
  	  	23 	  	Stairway to Heaven 	Page, Plant 	 
  	  	24 	  	Rock and Roll 	Bonham, Jones, Page, Plant 	 
  	  	25 	  	Nobody's Fault but Mine 	Page, Plant 	 
  	  	26 	  	Sick Again 	Page, Plant 	 
  	  	27 	  	Achilles Last Stand 	Page, Plant 	 
  	  	28 	  	In the Evening 	Jones, Page, Plant 	 
  	  	29 	  	Kashmir 	Bonham, Page, Plant 	 
  	  	30 	  	Whole Lotta Love 	Bonham, Dixon, Jones, Page ...
source: DSBD
transfer: CDR (from trade)>EAC>WAV>FLAC

Disc 1 - total time 58:48

01. tuning
02. Disco
03. Living In the Country*
04. I'm Going Back To the Old Home@
05. The Collins Missile
06. William Powell
07. talk about Leo's manager
08. Rings#
09. talk about Frizz Fuller
10. From Pizza Towers To Defeat%
11. I Can't Hang
12. Standing In My Shoes
13. Last Steam Engine Train^
14. talk about CD's early working title
15. Te Veo

Disc 2 - total time 43:06

01. tuning
02. Cripple Creek
03. talk about Clone
04. Clone
05. Middle of the Road
06. Corrina Corrina&
07. Car Carrier Blues
08. Ya Mar~
09. Encore I: Deep River Blues**
10. Encore II: Eight Miles High@@

*Pete Seeger cover
@Carter Stanley cover
#Eddie Reeves and Alex Harvey cover
%Robert "Frizz" Fuller cover
^John Fahey cover
&Mississippi John Hurt cover
~Cyril Ferguson cover
**Doc Watson cover
@@Roger McGuinn, David Crosby and Gene Clark cover

Txt file:

Comments:  this is a super SBD of a really fun show - these two guys are obviously enjoying playing together!  As could be expected, there's lots of offbeat humor packed into the between-song banter, as well as some truly inspired jamming!

I chose to keep the track breaks that were on the discs as I received them, rather than break all the banter into separate tracks (like I usually do)

Enjoy! - Zeb
Source: Schoeps MK41(DINA)->KC5->CMC6->Tascam HD-P2 (24/96)
Lineage: Wavelab 6(resample,dither)->cd wave->flac
Taped by: Jon Merin
Transferred by: Jon Merin

Disc 1
01.  Intro
02.  One Better
03.  Mac 1
04.  Rumble
05.  Tooth
06.  Vernon
07.  1 Step Beyond
08.  Drums*

Disc 2
01.  Whales and Woe
02.  Cosmic Highway
03.  Holy Mackerel
04.  Eyeball
05.  Crowd
06.  Pudding Time (encore)
07.  Iowan Gal (encore)
08.  Lust Strings (encore)

(*With Calvin Weston on Drums
AUD:  Neumann KM 140's (next to front of sbd on balcony)>PCM-M1@48khz w/20db>DA40>20 Band eq>CDRW700

Thela Hun Ginjeet 
Sgt Pepper's Lonely Hearts Club Band
A Little Help from my Friends
Shattering Song
Climbin up the Ladder 
16 Shells from a Thirty-Ought Six
Highball with the Devil
2000 Light Years from Home
Shine on You Crazy Diamond
Tomorrow Never Knows

Featuring Les Claypool, Robert Walter, Will Bernard on guitar, Cochemea Gastelum on sax and flute, Mike Clark on drums

Sound: A-
Show: A
Source:	Schoeps 4v > VMS5u > Tascam DA-P1 (it is also listed at db.etree.org as
		DAUD Schoeps MK4V > VMS5u > Apogee AD1000 > TCD-D8)

Disc One:

01) 17:26	Jam>Thela
02) 09:09	Ding Dang
03) 04:51	Long in the tooth
04) 10:31	Hendershot>toys tease(jimbo!)
05) 06:22	Monkey Boy
06) 07:59	Highball>
07) 10:40	Drums>
08) 05:29	Jam>highball

Disc Two:

01) 07:39	Running the gauntlet
02) 18:09	2000 light years>Is it Luck? tease>CygnusX-1>2000 light years
03) 15:51	Cosmic highway
04) 12:01	E: David Mackalaster I
05) 08:40	E: Whamola(with Les's kids)
Disc 1
01 Acid Rain
02 Kindred Spirits
03 Biaxident
04 Freedom of Speech
05 Improv Jam #1
06 Another Dimension 

Disc 2
01 State of Grace
02 Universal Mind
03 When the Water Breaks
04 Improv Jam #2
05 Rhapsody in Blue
06 Osmosis > Paradigm Shift
Tracks 1-9 Source: PRE-FM (Master 1/2 Track Broadcast RR) > 
Mastering (Custom Analog & Digital 10/04) >WAV
Tracks 10-12 Source :FM rebroadcast on WLIR > reel > reel >
m-audio transit > cool edit > cd wave editor 

1: Rock n' Roll Doctor 
2: Two Trains 
3: The Fan 
4: On Your Way Down 
5: Spanish Moon > 
6: Skin It Back > 
7: Fat Man In The Bath Tub 
8: Oh Atlanta 
9: Willin' 
10:Cold Cold Cold >
11:Dixie Chicken >
12:Tripe Face Boogie

Txt file:

FROM THE LITTLE FEAT SITE : ( this is the running order on my present copy,minus willin )

Date: 9/19/1974   Location: Ultrasonic Studios (WLIR) - Hempstead, NY 
Rock and Roll Doctor, Oh Atlanta, Two Trains, The Fan, On Your Way Down, 
Spanish Moon > Skin It Back > Fat Man In The Bathtub, Willin’, 
Cold Cold Cold > Dixie Chicken > Tripe Face Boogie 
The bootlegs known as "Electrif Lycanthrope" and "Encore Performance" are from this show..
This show is incorrectly traded as 9/14/74
Set I
1. Band Intro
2. When It's Sleepy Time Down South
3. Back Home Again in Indiana
4. A Kiss to Build a Dream On
5. The Bucket's Got a Hole In It
6. Blueberry Hill
7. Tin Roof Blues
8. Stuttin' with Some Barbecue
9. Swonderful
10. Billy Kyle Piano Jam!
11. The Man I Love
12. My Sweet Baby
13. Big Mama's Back in Town
14. Love That Man
15. Baby it's Cold Outside
16. Stompin' at the Savoy
Set II
1. Intro/Announcements
2. The Life of Didley Rambo - Dirge
3. The Life of Didley Rambo - March
4. It's So Good
5. Up the Lazy River
6. Shadrack, Meshack, Abendigo
7. When the Saints Go Marching In
8. High Society
9. Billy Kyle Piano Solo II
10. Dumb, Dumb, Dumby
11. Post Show Interview with L.A.
12. Struttin' With Some Barbecue (filler)

Sound: A- (surprisingly good considering the vintage)
Show: A
Dini Saluzzi - bandoneon 
Louis Sclavis - clarinettes 

Duetto 1 (2:57)
Tsur Gui/Tango  (9:34)
Duetto 2  (6:40)
Duetto 3   (7:40)
Announcement LS  (0:26)
Milonga del Angel/La Muerte del Angel (inc)(Piazolla) (20:01)

(TT= 47:20 - incomplete show)

source: FM
lineage: ? > CD > EAC > flac > CDwav > flac level 8 > Dime

This show was seeded on EZT well over a year ago.  I cannot remember who the original seeder was, but maybe Neetelbaers could help out?
This came as three tracks with the following titles and track lengths:

Duetto 1/Tsur Gui/Tango  19:12
Duetto 3   7:40
Milonga del Angel/La Muerte del Angel (Piazolla)/Duetto 2  20:28

The first track clearly consisted of three 'pasted' tracks. Each was separated by applause, which was cut short, and added to the next track, as if the original taper had cut out the announcer's comments. This made for rather abrupt transfers, so I decided to separate the tracks once again.
I also separated the announcement at the beginning of the (original) third track and made it into a separate track.
I removed two 2-second gaps after track 1 and track 2.

According to the original setlist, Tango should now be the third track, but actually it is the second part of track 2 (compare it with the version on 'Chine' (1987)). 
In his announcement LS says they are going to finish the set with the 2 Piazolla tracks mentioned. He does not mention 'Duetto 2'.  I assume some thing went wrong with the labeling (maybe the announcer made a mistake?) and it seems very plausible to me that the third track is therefore 'Dueto 2', esp. as it is followed by 'Duetto 3'. Notice that there is no applause between track 3 and track 4, so maybe they originally were one longer track.
The last track fades out, and I have no idea how much of the show is missing.

The sound is excellent, so is the playing: very relaxed, with a strong Argentinian flavour.

As always, Enjoy!
Louis Sclavis - bass clarinet, soprano sax
Vincent Courtois - violoncello

1. Maputo (?) (12:20)
2. Ann (0:45)
3. Hommage à Lunes Matube (12:15)
4. unknown (13:39)
5. L'affrontement des prétendants (6:54)
6. unknown (9:54)

TT: 55:51

Sound: A/A- (low fm hum)
Source: DRS 2 "Jazz Live" / 2006
Lineage: FM > tape > minidisc > analogue to HD > GoldWave > FLAC (8,asb,verify)

FM intro (2:36)
FM outro (0:09)

Note: from Sclavis' announcement #2, it seems that if #1 is indeed only "Maputo", two tracks are missing.

FM > WAV (Wavelab) > FLAC (frontend level 8)

Louis Sclavis (bass clarinet, soprano sax)
Marc baron (alto sax)
Maxime Delpierre (guitar)
Paul Brousseau (keyboards, sampler)
François Merville (drums)

L'imparfait des langues:

1. Le verbe  10:02
2. Archéologie  12:15
3. Le long du temps  8:31
4. L'idée du dialecte  14:56
5. Story over phrases  3:49
6. Palabres  8:49
7. Le long du temps (short version)  3:41

Compositions by Louis Sclavis

Broadcast: Jazz été, France Musique, july 9, 2006

FM > WAV (Wavelab) > FLAC (frontend level 8)
Jazz sur le Vif, France Musique, 27 june 2007
Talk by Xavier Prévost

Louis Sclavis (soprano sax, bass clarinet)
Marc Baron (alto sax)
Maxime Delpierre (guitar)
Paul Brousseau (keyboards, sampler)
François Merville (drums)

1. Raisonnance  9:44
2. Archéologie  12:53
3. Syllogisme  9:53
4. L'Idée du Dialecte  18:39
fm > dat? > cdr > eac > flac frontend > flac

01. unknown
02. unknown
03. unknown
04. unknown
05. unknown

Louis Sclavis - soprano sax/clarinet/bass clarinet
Jean-Luc Cappozzo - trumpet
Vincent Courtois - cello
Bruno Chevillon - bass
François Merville - drums
Jean Luc Capozzo - trumpet
Louis Sclavis - clarinets, soprano sax
Vincent Courtois - cello
Bruno Chevillon - bass
François Merville - drums

1. Willisau Today (10:28)
2. Maputo (13:59)
3. Possible (8:47)
4. Homage à Matoub Lunès (18:30)
5. unknown (3:44)

TT: 55:30

Recording Engineer: Martin Pearson
Source: DRS broadcast / 2002
Lineage: FM > (tape >?) Minidisc > analoge to HD > CDR > EAC (secure) > FLAC (8,asb,verify)
Source:  BBC FM > Aiwa 640 record > Aiwa 880 replay > Yamaha 1300 HD recorder
Editing: Only fade in / out of each set and L/R balance correction
Transfer AMQR CDR > EAC > Nero 6 > Flac Frontend (level 6)
Quality: A+, with relatively little hiss for this vintage

A wonderful performance from Bath Festival of this rare Sclavis group. If you
expect a 'Hot Club' type session, think again! There is some serious fiery playing
from everybody and you don't notice the absence of drums for a moment.

Louis Sclavis      - clarinet, bass clarinet
Dominique Pifarély - violin
Marc Ducret        - 6 and 12-string guitars
Bruno Chevillon    - double-bass

Set 1 (47:51)
13:16 Sensible
07:40 Hop!
13:37 Bafouée
13:16 Abrupto

Set 2
10:43 Elke
12:09 Chromo 3
16:20 Seconde
04:32 Beata
00:39 Outro
Bo Ramsey- guitar, slide guitar
Kenny Vaughn- guitar
Richard Price- bass
Fran Breen- drums

Soundboard recording
Lineage: CDR>EAC>Wavetrim>TLH>SBE & FLAC>BT

Disc one:
01. Pineola
02. Something About What Happened When We Talk
03. Car Wheels On A Gravel Road
04. Lake Charles
05. Drunken Angel
06. Greenville
07. Metal Firecracker
08. Still I Long For Your Kiss
09. Right In Time
10. Passionate Kisses
11. 2 Kool 2 Be 4-Gotten
12. Concrete And Barbed Wire
13. Can't Let Go

Disc two:
01. Hot Blood
02. Joy
03. Changed The Locks
04. Disgusted
05. Down The Big Road Blues
06. Come To Me Baby
07. Sweet Old World
08. Little Angel, Little Brother
09. Jackson
10. Crescent City
11. Side Of The Road
12. Nothing In Rambling
Source: Pre-FM [these files mixed and tracked by The Grape]

Disc One
01. Drunken Angel
02. Ventura
03. Car Wheels On A Gravel Road > [misc. intros]
04. Fruits Of My Labor
05. Those Three Days
06. Blue
07. Sweet Side > [band intros]
08. I Lost It
09. Still I Long For Your Kiss
10. Righteously
11. Joy
12. Changed The Locks
13. Essence
14. Real Live Bleeding Fingers and Broken Guitar Strings

Disc Two
01. Side Of The Road
02. Lake Charles
03. Crescent City
04. Greenville
05. Something About Happens When We Talk
06. American Dream
07. Get Right With God
08. I Envy The Wind
09. Big Road Blues
10. Hard Time Killing Floor Blues

An Imperfect Gravy Recording (IPG-020)

Lineage: Soundboard > Sharp MD-MT90(S) > HHb CDR-830 > CDR > WAV (EAC) > FLAC Level 8 (TLH)

Sound Quality: Excellent

Disc One:
1.   Cowboy Singer
2.   One Good Reason
3.   The Tide
4.   Secret Journey
5.   [talk]
6.   Loch Lomond
7.   Don't Mind Me
8.   Life Is Beautiful
9.   Ten Year Night
10.  The Red Thread

Disc Two:
1.   Mary And The Soldier
2.   I Had Something
3.   Scorpion
4.   Guilty As Sin
5.   [talk]
6.   This Is Home
7.   Land Of The Living
8.   [talk]
9.   A Song About Pi
10.  Written On The Back Of His Hand
11.  Broken Things
12.  Just You Tonight
13.  By Way Of Sorrow

Lucy Kaplansky - vocals, acoustic guitar

This recording was made with the knowledge and permission of the artist. If you like what 
you hear, please support Lucy by going to shows and purchasing her official releases.
la county
good intentions
crying shame
all my love is gone
give me back my heart
nobody knows me
she makes me feel good
brown-eyed handsome man
north dakota
she's already made up her mind
since the last time

if I had a boat
she's hot to go
you can't resist it
simple song
here I am
she's no lady
friend of the devil
Source:  Soundboard DAT

T01 Instrumental
T02 I Don't Know
T03 LA County
T04 Good Intentions
T05 Flyswatter
T06 Crying Shame
T07 All My Love Is Gone
T08 Give Me Back My Heart
T09 Nobody Knows Me
T10 She Makes Me Feel Good
T11 Brown-Eyed Handsome Man
T12 North Dakota
T13 She's Already Made Up Her Mind
T14 The Last Time

T01 Church
T02 She's Hot To Go
T03 ?
T04 You Can't Resist it
T05 Simple Song
T06 Here I Am
T07 She's No Lady
T08 Friend Of The Devil
[[On Ratings]]
[[Tag Cloud]]
[[Acoustic]] [[Alt-Country]] [[Americana]] [[Bluegrass]] [[Blues]] [[Classic Rock]] [[Classical]] [[Folk]] [[Funk]] [[Fusion]] [[Indie]] [[Instrumental]] 
[[Jam Band]] [[Jazz]] [[New Wave]] [[Post-Rock]] [[Progressive Rock]] [[Rock]] [[Singer Songwriter]]
Source: FOB, 30' from stage: AKG481 (cardiods XY100) > Apogee MME > D8
Transfer: D8 > Tascam CDRW4U CDR > EAC (secure/offset) > SF45 > CDWAV > CDR (or SHN w/MKW)
Recorded and Transferred by Jason Espie

Malian kora musician, Mamadou Diabate is a member of the Mandinka West African jeli (musician caste) family. His musical lineage goes back seven centuries to the time of Sunjata Keita, the conqueror of the Malian empire.
Now based in the United States, Mamadou performs around North America and Europe. Interested in bringing the kora to new audiences, he has played with jazz and other contemporary artists, however he remains rooted in the traditions of the Manding kora and his griot heritage. He is one of a handful remaining kora players that are keeping alive the kora tradition. 
 To listen to Mamadou in performance is to experience the beauty of the kora.

Mamadou Diabate was born in 1975 in Kita, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates, Mamadou comes from a family of griots, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people's consciousness of the past, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali, covering much of West Africa. The stories of these glory days and the times since remain important touchstones for people today, not only for the Manding, but for many citizens of Mali, Guinea, Gambia, and Senegal. So to be born to a distinguished jeli family in Kita is already an auspicious beginning. 
Mamadou's father Djelimory played the kora, the jeli's venerable 21-string harp. He was widely known as N'fa Diabate, performing in the Instrumental Ensemble of Mali and recording on the National Radio of Mali. At the age of four, Mamadou went to live with his father in Bamako, where the Ensemble was based. When it came time for him to return to Kita and go to school, Mamadou knew that the kora was his destiny. His father had taught him how to play the instrument, and from there he listened and watched and devoted himself to practicing the kora, to the point that his mother worried that he was not concentrating enough on school. When she took it away, it only reduced his interest in studying, and he quickly resorted to making his own kora so he could continue.
Before long, Mamadou left school and began playing kora for local jeli singers, and traveling throughout the region to play at the ceremonies where modern jelis ply their trade, mostly weddings and baptisms. When he was fifteen, Mamadou won first prize for his kora playing in a regional competition and instantly became something of a local celebrity. The next year, he went to Bamako, and under the tutelage of his famous kora playing cousin, Toumani Diabate, he worked the jeli circuit, backing singers at neighborhood weddings and baptisms and entertaining the powerful at the city's posh Amitié Hotel. Toumani gave his cousin the nickname "Djelika Djan" meaning "Tall Griot," a reference to Mamadou's impressive physical stature. The name has stuck.
In 1996, a touring group from the Instrumental Ensemble of Mali offered Mamadou the chance to travel to the United States with a group of Manding musicians and cultural authorities. Following a successful tour, Mamadou decided to continue his work in the United States and, since then, he's made his home in and around New York. Mamadou gets frequent invitations to perform with visiting Malian stars including Ami Koita, Tata Bambo Kouyate, Kandia Kouyate, and Babani Koné. He has performed at the United Nations, Lincoln Center, the Metropolitan Museum, and at the Smithsonian Institute in Washington. In addition, he's delved into uncharted waters, jamming with all manner of expert musicians, including jazz luminaries Donald Byrd and Randy Weston, Zimbabwean legend Thomas Mapfumo, and blues masters Eric Bibb and Guy Davis. Mamadou's recording credits have expanded as he has laid tracks with artists ranging from Irish soloist Susan McKeown, jazz bassist Ben Allison, and Benin's celebrated Angélique Kidjo.
 Mamadou says that his father advised him to listen to all the best kora players and to learn from each one. The kora itself came to Mali from Gabu, the region centered between Gambia, Senegal, and Guinea Bissau, and the Malian kora tradition has always put a premium on holding onto the old ways while constantly innovating and developing the art.
Lineage: cdr > EAC > WAV > FLAC Frontend level 8
Likely a WLIR broadcast

1 - Spirit in the Night
2 - The Time is Right
3 - Father of Day, Father of Night
4 - Captain Bobby Stout~Glorified Magnified
5 - Well, Well, Well
6 - Quinn the Eskimo

Total Time: 65:38
Disc 1
1-Silver Thunderbird
2-Walking In Memphis
3-Ghost Train
4-Saving The Best For Last
5-29 Ways
6-Perfect Love

Disc 2
1-Isn't That So
2-Dig Down Deep
3-True Companion
5-Tupelo Honey 

WNEW broadcast
Sound: A- (sounds a little compressed)
Show: A
Marcin Wasilewski - piano
Slawomir Kurkiewicz - bass
Michal Miskiewicz - drums

1. Blues Written by Ornette Coleman
2. Catorna
3. Arpeggiata
4. Baniera Eccentrica
5. Ballad by Krzysztok Komeda
6. Quara

Source: FM > Nakamichi CR5/Maxell MX cassette tape > Cool Edit Pro > cdr > eac (secure) > flac
8 tracks

Marco Benevento - Keys
Skerik - Sax and oddities
Marc Friedman - Bass
Ari Hoenig - Drums
DJ Olive - Turntablisms

1-1. Radio Announcement #1 0:26
1-2. Grendel 17:27
1-3. Radio Announcement #2 0:13
1-4. Garden Party Intro 0:29
1-5. Garden Party 6:49
1-6. Script For A Jester's Tear 8:55
1-7. Assassing Intro 0:30
1-8. Assassing 7:28
1-9. Charting The Single 5:14
1-10. Forgotten Sons Intro 0:40
1-11. Forgotten Sons 10:33
1-12. Market Square Heros 4:19
1-13. Margaret (incl. Jean Genie & The Web 6:35
1-14. He Knows You Know 5:36

"So Here We Are Once More"

	The Reading Rock Festival is one of the most important annual rock music events in 
Brittain. It began in 1961 as a jazz event at Richmond Athletic Ground in Surrey, England. 
Artists performing at that time included Mike Cotton, Tubby Hayes and the Clyde Valley Stompers.
 Each year the festival grew in popularity and attendance. By 1963, there was a shift towards a 
Blues style with Muddy Waters and The Rolling Stones highlighting that event. In 1964, the 
festival was renamed the National Jazz & Blues Festival. In 1965, even the Beatles’ John Lennon 
and George Harrison were seen to attend, though they did not perform. As the event grew in size 
and importance many of the most popular rock bands of the time were drawn to perform at the 
annual event. The Who in 1966, Jethro Tull in 1968, and both Pink Floyd and Yes in 1969. 
	As it evolved, new sites were used to host the festivities. In 1968 it was held at 
Kempton Park Racecourse.  1969 saw it was moved to the Plumpton Racecourse in Sussex, and 
finally in 1971, the festival was moved to Reading England. Despite the continued inclusion of 
more and more progressive rock and rock bands, the festival was renamed once more in 1972, 
becoming the National Jazz, Blues, and Folk Festival. In 1975 posters advertised the event as 
The National Jazz, Blues and Rock Festival. By that time, Genesis and Yes had both appeared 
twice and audiences had grown to an impressive 25,000. In 1978 the title of the event was 
finally changed to “The Reading Rock Festival”, but some thought it should be the Reading Mud 
Festival. 1971, 1977 and 1979 were marred by mud and rain but fortunately for Marillion in 1983 
the skies were clear. “Reading Rock 1983” was the second time that Marillion had played the 
festival. Just one year before, the band not only performed there, but announced their new 
record contract with EMI; a fact that Fish reminds the ’83 audience during this performance. 
By 1982 the English music scene was clearly moving away from progressive rock and more to the 
beginnings of heavy metal. At the time, Marillion shared the stage with Iron Maiden, Michael 
Schenker and Blackfoot. 1983 was no different as the line-up listed below demonstrates. Yet 
Marillion’s performance along with Pallas, Pendragon, Twelfth Night and The Enid shows that 
progressive rock was still an important force in the music of England at the time.
	Most of Marillion’s set was broadcast over the radio by the BBC. Only "Market Square 
Heroes" and "Margaret" are missing. This performance also marks the very last complete 
performance of “Grendel”, one of their most famous and popular songs. But Marillion was on the 
rise. Playing this prestigious event two years in a row symbolized their increasing popularity 
and was a springboard to many important events to come. Fish once commented, “Playing the 
Reading Festival was one of the greatest days of my life.”

Notes from the Re-Master
	This concert came from three sources. We were told that it was broadcast in England over 
two different nights. Only "Market Square Heroes" and "Margaret" are missing from the broadcast. 
These two songs were included from an audience source recording we obtained. The first nights 
broadcast included the first two thirds of the show. The second broadcast included the last two 
thirds. Clearly there was overlap. The best of both sources was used to reconstruct that part of 
the show but the radio announcements from the first show were left in. During this commentary 
the announcer makes reference to the 46 minute broadcast which only applies to the first night’s 
broadcast, not the full length of the performance. At the beginning of Grendel, some 
music-sounding noise is heard during the first minute of the slow guitar introduction. We 
believe this was actually at the concert because the audience seems to react favorably when it 
stops. The audience recording of the two missing songs was patched into the proper chronological 
	The baseline quality of all three recordings was quite good. However one source had a 
prominent hum throughout. This required a frequency specific inversion and subtraction technique 
to eliminate. Once removed, the rest of that recording was full spectrum with audible music 
signal up to 14,000 Hz. A small amount of noise reduction was needed for the second half of the 
show. Radio transmission interference disrupted the music only briefly and only a couple of 
times. Pops and clicks were minimal and tonality required no alteration in the radio broadcast 
section. The audience recording section did need hiss reduction and tonality adjustment to match 
the radio broadcast sections as well as possible.
Please Weed. http://from1fan2allothers.com


Disc 1
1.1- Radio Introduction :55
1.2- Concert Introduction 1:07
1.3- He Knows You Know 6:33
1.4- Garden Party 7:49
1.5- Script for a Jester's Tear 10:31
1.6- Three Boats Down From the Candy 5:37
1.7- Assassing 7:37
Disc 2
2.1- Chelsea Monday 10:09
2.2- Forgotten Sons 12:46
2.3- Market Square Heroes 7:00
2.4- Charting the Single 10:08
2.5- Radio Conclusion :39 
Total Disc 80:35

Marillion "German Script"

Fish Vocals
Steve Rothery Guitar
Peter Trewavas –Bass
Mark Kelly –Keyboards
Jonathan Mover –Drums 

1983 was an important year for the band Marillion. In January they made their first appearance on
 television. This was followed by the release of their first album Script for a Jester’s Tear 
which reached number 7 on the British music charts. They were voted the best new rock band of 
1982 by the English music magazine Sounds; and at this point in their career they had given over 
200 performances to a growing number of enthusiastic fans. 
           They toured the United States twice and played at many rock festivals both on the 
European continent and in the U.K. Concerts were not only well attended but were also well 
reviewed. Though some saw the band as a poor clone of Genesis, fans saw Marillion as an important cornerstone of progressive rock at the time.  The influential paper Melody Maker wrote: "Every song [from Marillion] is a mini-drama scripted in the florid language expected by its audience”.  Another sign of their popularity was that their concerts at the Hammersmith Odeon were sold out two nights in a row that year. They used the opportunity to film videos for official release in addition to the new material that was soon to be released on their second album Fugazi. On October 1st, they traveled to Germany to give yet another performance on the continent.
           But all was not will with band. They made the decision to fire their drummer Mick 
Pointer and since that time had tried a number of different musicians as replacements. This 
decision did not come easily. Mick was one of the founding members of the group. His decision 
to join the band Electric Gypsy in 1977 was the beginning of the formation of Silmarillion; the 
name they used before shortening it to just Marillion. When the ax did fall, he was initially 
replaced with former Camel drummer Andy Ward. During the months of May through August Marillion 
continued to tour with Andy providing the percussion. However Andy was eventually replaced with 
John Martyr who himself only lasted through September. At this point the band followed the 
recommendation of their producer Nick Tauber and auditioned an American named Jonathan Mover. 
At 21 years old he was still impressive enough to earn the job but fate was not with him. His 
only performance with Marillion is the October 1st concert recorded on this CD. After the 
performance he was replaced by Ian Mosley who has kept the position to this day.
            The performance in Germany that night was well received. Fish alternated between 
speaking English and German both during the songs and while talking to the audience. The set 
consisted of most songs from the Script release as well as one particular song from their new 
album, the song ‘Assassing’.  Lead singer Fish explained in an interview the musical origins of 
this song, “with ‘Assassing’, I found the basic pattern on a tape of Islamic drum rhythms Peter 
Hammill gave me on the "Script" tour early '83”. But according to Guitarist Steve Rothery, 
“‘Assassing’ was really a lyric about Fish sacking the ex-members [drummers] of the band. In the 
song, he is the assassin who comes along and destroys people. It is quite a nasty lyric... Fish 
did have a lot of influence, but all the changes that were made in the band were made for the 
right reasons.”
           The Band’s “performance” that night did not seem to end with the fall of the curtain. 
Back at the hotel, Marillion were not exactly the best of guests. John Arnison, the band’s 
manager was quoted as admitting, "My worst experience with Marillion was getting pinned to a wall
 in Germany [that night] by two police officers with guns, a fireman with an axe and a hotel 
manager demanding my passport because the group had let off fire extinguishers and completely 
devastated the whole of the floor. Things like this seem to keep happening." It was a night in 
Germany that many will never forget.

 Notes from the Re-Master            

           The recording was originally broadcast so a good soundboard mix was available. The 
hiss level was quite high and needed to be reduced. Clicks and pops were frequent and were 
removed. Stereo balance and tonality were quite good and therefore were not altered. Set 
listings for this concert include ‘charting the single’ as the final song of the evening. This 
was obtained from a separate source along with the German Radio announcer introduction and 
concluding remarks. These were all spliced into the show. The total time was over 80 minutes 
so we at PRRP had to decide whether to have a 1 CD or 2 CD release. A 1 CD release was possible 
if we removed the Radio announcer but we chose to leave all relevant material in the show and 
produce a 2 CD show.
A zimmy21 recording !!
Source : SP-CMC-10 > battery SP-SPSB-1 ( 107 Hz ) > Dat Sony TCD-D8 > Pioneer CD recorder > EAC > Wav > Flac Frontend > Flac

Disc 01   :   71.42 minutes

01. Right now
02. Red staggerwing
03. Michaelangelo
04. I dug up a diamond
05. Born to run
06. Red dirt girl
07. band introduction
08. Done with Bonaparte
09. Romeo and Juliet
10. Song for Sonny Liston
11. All that matters
12. Donkey town
13. This is us

Disc 02   :   48.37 minutes

01. All the roadrunning
02. Boulder to Birmingham
03. Belle Starr
04. Speedway at Nazareth
05. Why worry
06. So far away
07. Our Shangri - La
08. applause
09. If this is goodbye


Core Sound heb mics > DAC24/96 > hp5500 pda
Recorded at 24 bit 88.2 KHz, reduced to CD quality using SoundForge 7.0

Recorded from stalls block B3.


Mark Knopfler (Guitar / Vocals)
Emmylou Harris (Guitar / Vocals)
Guy Fletcher (Keyboards / Musical Director)
Danny Cummings (Drums)
Glenn Worf (Bass)
Matt Rollings (Piano / Organ / Accordeon)
Richard Bennett (Guitar) 
Stuart Duncan (Fiddle / Mandolin)



01. Right Now
02. Red Staggerwing
03. Michelangelo (EH)
04. I Dug Up A Diamond
05. Born To Run (EH)
06. Red Dirt Girl (EH)
07. Band introductions
08. Done With Bonaparte
09. Romeo and Juliet
10. Song For Sonny Liston


01. Belle Starr
02. This Is Us
03. Boulder To Birmingham (EH)
04. All The Roadrunning
05. Speedway At Nazareth
06. If This Is Goodbye
07. So Far Away
08. Our Shangri-La
09. Why Worry
Mark Knopfler - Copenhagen 10.06.1996 soundboard


1. Intro 
2. Darling pretty 
3. Walk of life 
4. Imelda 
5. The bug 
6. Rudiger 
7. Je suis desole 
8. Calling Elvis 
9. I'm the fool 
10. Last exit to Brooklyn 
11. Romeo and Juliet 
12. Sultans of swing


1. Done with Bonaparte 
2. Father and son 
3. Golden heart 
4. Cannibals 
5. Telegraph road 
6. Brothers in arms 
7. Money for nothing 
8. Ole, ole 
9. The long highway
10. Going Home (Local Hero)

Additional comments:
Perfect soundboard recording! Unlike the previous version, all songs are in perfect sound and the concert is 100% complete. No missing ending of Romeo and Juliet this time and finally Long Highway and Going Home are featured on this recording.  Just before Long Highway, Mark Knopfler says: "We will be thinking of you on the way up to Oslo... "  Truely a great concert with good dynamics, highly recommended is you want a good impression of the Golden Heart tour in perfect sound. Available on two CD-R's.
Taper:		Rob Katz (robkatz at erols dot com)	
Source:		Audio-Technica 450 HE > DA-P1 (48k)
Conversion:	DA-P1 > TC Electronics - Triple C > ZA2 > SoundForge > CDWAV > SHN. 
Location:	Mics set up Left of Stage, Behind Soundboard

Disc One 
Set One
01:	Welcome to the Machine @			-	01:07
02:	The Beast in Me					- 	04:55
03:	So Long Suzanna					- 	02:49
04:	Goin to the Country				- 	03:40
05:	Faith on the Table				- 	04:13
06:	Diggin Me Diggin You				-	04:19
07:	Where Did I Go Wrong				-	06:16
08:	Free World					-	05:45
09:	Hallelujah					-	07:01
10:	Over My Head					-	04:17
11:	Let it Be  #					-	01:54
12:	Things You Do to Me				-	07:41

Set Two
13:	With a Little Help From My Friends #		-	07:03
14:	Caught in the Rain				-	05:03
15:	Can't Stop Thinkin About You			-	07:06
16:	Angeline					-	05:31	

Total:							-	78:40

Disc Two 

Set Two, cntd

01:	Freedom of the Road				-	04:56
02:	Diner						-	04:21
03:	Young & Beautiful				-	04:13
04:	Interlude					-	01:03
05:	13 Step Boogie					-	05:36
06:	Elephant's Memory				-	04:46
07:	My Maria (one verse)   >			-	02:15
08:	Gypsy Woman	  				-	09:00
09:	Glory Bound $	  >				-	07:31
10:	Wish You Were Here / Goodbye Romance *		-	03:00
11:	Encore Break					-	02:15
12:	Intro						-	00:45
13:	Candy						-	07:23
14:	False Start >					-	01:14
15:	Black Sheep					-	05:50
Total:							-	64:08

@ Pink Floyd cover
# Beatles cover
$ Into "San Francisco" by Scott McKenzie
* Pink Floyd / Ozzy Osborne covers

General Notes:
Whole show is Martin solo
You will need an 80 minute cd-r to burn disc 1 of this show.
Set I
JAM ->
Set II
ICU ->
(2nd ENCORE):
Source Audience. Sound A-

Max Roach-drums 
Odeon Pope-tenor sax 
Cecil Bridgewater-trumpet 
Tyrone Browne-bass 

Set list help please

01. Title 14:20
02. Title 10:58
03. Title 13:08
04. Drum Solo 4:30
05. Speaker MR/Calvary 14:06

Total 57:03
Here you'll get a proshot DVD from TOAD's PLACE
in NEW HAVEN, CONNETICUIT, USA 1991. It was filmed
by the stage crew with only one camera. The audio
came from soundboard, so we have the rare chance
to see & hear Meat with his old, powerful
voice in big quality.

1. Out Of The Frying Pan ( 13:05 )
2. Masculine ( 12:06 )
3. You Took The Words Right Out Of My Mouth ( 15:36 )
4. Midnight At The Lost And Found ( 6:41 )
5. All Revved Up With No Place To Go ( 8:41 )
6. Two Out Of Three Ain't Bad ( 13:46 )
7. Bat Out Of Hell ( 12:34 )
8. > Introductions ( 4:37 )
9. Paradisse By The Dashboard Light ( 17:11 )
10. Rock And Roll Medley ( 14:09 )

Technical dates:

TV System > PAL
Attribute > 24 Bits, 720 x 576, 4:3
Frames > 25 per sec.
Data > Variable Bit Rate ( max. 6500 kbps )
Total Duration > 01:58:32.04
Menue & Chapters > yes, each song
Fingerprint > yes
Size: 3,99 GB

Trade > CD-r > CDnGo > WAV > Flac Frontend > Flac

Line Up: 
Meat Loaf - Vocals / Acoustic guitar 
Patti Russo - Vocals
David LeScott (?) - Guitar
Kasim Sulton - Bass
John Machli - Drums
Tommy Grislam (?) - Piano / Keyboards
Ray Anderson - Keyboards / Guitar
Pearl Aday - Backing Vocals

Track Listing

Home By Now
No Matter What / Should Have Been Home By Now
Life Is A Lemon
Dead ringer For Love
I'd Lie For You, (and that's the Truth)
I'd Do Anything For Love, (but I won't do that) 
Lawyers Guns and Money

Rock N Roll Dreams
Is Nothing Sacred
Paradise By The Dashboard Light
--encore break--
[Meat goes acoustic] / Sixteen Tons / Band Intros / Sixteen Tons (cont)
Modern Girl (2 min tease)
Midnight At The Lost And Found

Honkytonk Women, (Sung by various members of the band)
Oh Darling, (Patti Russo lead vocals)
Heartache Tonight
I Love Rock N Roll, (Pearl Aday lead vocals) 
Hot Summer Night / Two Out Of Three Ain't Bad
You Took The Words Right Out Of My Mouth
Bat Out Of Hell
[--encore break--
Summertime Blues
Roll Over Beethoven
	  	1 	  	Life Is a Lemon (And I Want My Money Back) 	Steinman 	 
Composed by:	Steinman
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	2 	  	Mercury Blues 	Douglas, Geddins 	 
Composed by:	Douglas, Geddins
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	3 	  	Dead Ringer for Love 	Steinman 	 
Composed by:	Steinman
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	4 	  	Testify 	Griffin 	 
Composed by:	Griffin
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	5 	  	All Revved Up With No Place to Go 	Steinman 	 
Composed by:	Steinman
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	6 	  	You Took the Words Right Out of My Mouth (Hot Summer Night) 	Steinman 	 
Composed by:	Steinman
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	7 	  	Couldn't Have Said It Better 	Michael, Sixx 	 
Composed by:	Michael, Sixx
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	8 	  	Two Out of Three Ain't Bad 	Steinman 	 
Composed by:	Steinman
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	9 	  	Out of the Frying Pan (And into the Fire) 	Steinman 	 
Composed by:	Steinman
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	10 	  	For Crying out Loud 	Steinman 	 
Composed by:	Steinman
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	11 	  	Paradise by the Dashboard Light 	Steinman 	 
Composed by:	Steinman
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	12 	  	I'd Do Anything for Love (But I Won't Do That) 	Steinman 	 
Composed by:	Steinman
Performed by:	Meat Loaf, Melbourne Symphony Orchestra
  	  	13 	  	Bat out of Hell 	Steinman
Updated source: Schoeps cmxy4v
[had been erroneously marked
Source: SBD + Schoeps CMC64 + EW tc-40k > D7]
Transfer: Tascam DA-20 MK II > Audiophile 2496 > Sound Forge 7 >
CD Wave > Flac Level 8
Transfer by: Mike Vescovo (shackaholic_AT_gmail)

Disc One:
01. Improv >
02. Disrobe
03. Chris & Tam
04. Start/Stop
05. Gonzo
06. Sugarcraft
07. The Golden Lady
08. Chinoiserie

Disc Two:
01. Toy Dancing*#
02. Africa*>
03. Everyday People*

(w/ DJ Logic
(* w/ Marc Ribot
(# slight glitch at 3:22
Early Show

unknown/new (blues)
unknown/new (dark blues)
The Letter
Rise Up
After the Onsen
New New Orleans
Everybody Poops

Late Show

Norah 6
What'd I Say
unknown/new (far east)
Seven Deadlies
unknown/new (chef ballad)
Tuttie Ma
Wiggly's Way
Hey Joe

* thanks to Scott Gordon & Bill Mulvey for the help

source: Neumann AK40/LC3/KM100 > MP2 > M1 @ 16/48 (FOH/DFC/ghettORTF)
transfer: Tascam DA-20 > Hosa OLD-276 > Spark XL 2.8.2 (resample/tracks/fades) > xACT > FLAC
taped & transfered by jeffrykennedy@gmail.com

Disc One: 
01.  Jam
02.  Chubb Sub
03.  Coconut Boogaloo 
04.  Start / Stop 
05.  Is There Anybody Here That Loved My Jesus 

Disc Two:  
01.  "TBA" 
02.  Brigas Nunca Mais >  
03.   "Untitled-Ya"  
04.  Blue Pepper *  
05.  Bubblehouse 
06.  filler:   12-11-1998 - Latin Shuffle 

'* - w/ Skerik on sax (from Critters Buggin and Tuartara)
Source: FOB on lip of stage DFC > mics run on 7' stand ORTF > Neumann AK 40 > LC3KA > KM100 > AD1000 > D8
Transfer: D8 > Delta DiO 2496 > Samplitude 2496 > CDWAVE > SHNv3

Taped, transferred, and seeded by John D'Auria

Disc 1
Set I
01. Intro > Smoke
02. Improv >
03. Felic
04. Improv > 
05. Big Time
06. Is There Anybody Here That Love My Jesus?

Disc 2
Set II
01. Macha
02. Partido Alto
03. Brigas Nuncas Mais
04. The Dropper
05. Seven Deadlies
06. Africa
07. Bass Solo

Disc 3
Set II continued
01. Shacklyn Knights
02. Night Marchers
03. Crosstown Traffic
04. Gonzo (a)

(a) Billy Martin walks up the the mics on the lip of the stage and plays directly into them.

Sound: A
Show: A
Silent Anticipations
Baby Toes
Watching My Life Go By
Rickover's Dream
Breakfast in the Field
Face Yourself
Aerial Boundaries
The Funky Avacado
Come Together
Lineage: Master->DAT->CD->FLAC

Disc 1
1.  Eminence Front
2.  India
3.  Buffalo Stance
4.  Because It’s There
5.  (Titles, Talk & Tuning)
6.  Ritual Dance
7.  Road to Return
8.  Rickover’s Dream
9.  I Carry Your Heart
10. Silent Anticipations

Disc 2
1.  Autobiographical Suite: The Naked Stalk /
The Jealous Tunnel / The About Face March
2.  ?
3.  Ragamuffin
4.  Funky Avocado
5.  She Drives Me Crazy
6.  (Talk & Tuning)
7.  Aerial Boundaries
8.  Rootwitch
9.  60’s ‘Medley’
1. Jitterboogie [2:42]
2. Lucky Star [3:57]
3. Because It's There [4:27]
4. Face Yourself [6:25]
5. Dirge [5:27]
6. Sapphire [4:36]
7. Bouree [2:53]
8. Ritual Dance [2:37]
9. Rickover's Dream [5:44]
10. India [5:10]
11. Rough Wind In Oklahoma [5:49]
12. Syrinx [2:49]
13. Silent Anticipations [5:28]
14. A Love Bizarre [5:23]
15. Follow Through [5:11]
16. All Along The Watchtower [3:21]
1. Jitterboogie (2:45)
2. While My Guitar Gently Weeps (6:31)
3. Ritual Dance (2:47)
4. Because It's There (4:29)
5. Face Yourself (5:52)
6. Like a Rolling Stone (8:16)
7. Root Witch (2:42)
8. Jabberwocky (4:43)
9. Rickover's Dream (5:47)
10. Free Swingin' Soul (3:53)
11. Silent Anticipations (6:48)
12. Oklahoma! (1:41)
13. Gimme Shelter (5:34)
14. No Expectations (6:24)
- encore -
15. All Along the Watchtower (5:44)

Recording and production by Jeffro

Source: Sony CFS-EW60 (FM) > 
analog > Sony D10 Pro II.

Transfer: Sony PCM-R300 > NJB3 > SHN
Editing: Cool Edit Pro
01 (12:18) Beginning to melt
02 (05:39) Claire Eyes
03 (11:25) Plain Dressed
04 (05:26) Two Steps to Nowhere
05 (05:07) The drowning Dream
06 (06:34) Claude's Mirror Listing
07 (02:13) Nubian Clouds
08 (03:57) Bestial Cluster

Playing Time : 52:39

Bestial Cluster Live

Mick Karn  bass and clarinet
David Torn guitars, loops 
Steve Jansen percussion
Richard Barbieri keyboards

The track titles are how I got them. Some of them are obviously titled differently than they should be, but I left them alone for originality with the original boot. There was also some artwork floating around the internet for this show a while ago.
Mike Millard, nicknamed "Mike The Mic" was an avid bootleg recorder in the 1970s and 1980s, recording mostly Led Zeppelin and Pink Floyd concerts in California, especially at the Los Angeles Forum. He taped virtually every show at the Forum from 1974 to 1980.

Starting with a basic mono recorder in 1974, Millard upgraded to a Nakamichi stereo recorder with AKG Acoustics microphones for the 1975 Led Zeppelin shows in the area. He often used a wheelchair to conceal his equipment, pretending to be disabled. Unlike most 1970s audience bootlegs, Millard's recordings are noted for their great sound quality, and are to this day considered some of the finest audio bootlegs available.

Millard's recording of the Led Zeppelin concert on June 21, 1977 at the Forum (allegedly taped from row number 6) was released under the title Listen To This Eddie, and remains one of the best-known Led Zeppelin bootlegs. His recording of the opening number from the concert, "The Song Remains The Same", was included in the promos menu of the Led Zeppelin DVD.

Mike Millard took his own life in 1993. 

The fan recording of a concert is really an extension of taking snapshots of your heroes. Back in the ‘60s and ‘70s recordable media was just making its way into households as a consumer electronic device, either an expensive reel-to-reel deck or a convenient cassette recording deck. Just imagine sneaking one of those into a concert these days. More likely, the stealth recorder of choice today would be a mini-disc recorder or your handphone. Small enough to fit your pocket.

But Michael Millard was different. He arrived early at concerts near his home, pulled out a wheelchair from the boot of his car and proceeded to wheel himself into the arena as an invalid. He managed to secure front row "seats", almost always front and centre. Hidden underneath his wheelchair was a Nakamichi stereo cassette deck hooked up to two high-quality AKG mics. Security guards in those days were probably unaware of such goings on.

His recordings were much sought after for their quality - capturing the expanse of the stage plus the great ambience of the halls. His close proximity eliminated any echo from his recordings. All the instruments recorded right off the front speakers. Plant’s voice is crystal clear. But Millard had a habit of marking his tapes when he copied them for another collector or fan. He would, for instance, lower the levels when transferring the audio to a VHS tape or lower the volume in mid-song when making a cassette copy. It has been said he detested bootleggers who pressed up his recordings onto vinyls or CDs to sell. To that end, he kept a log of all the trades he made with clear indications of what markings he did to the tapes. That way, he knew which of his trades were sent to bootleggers.

He worked as a custodian in a public school. In a fit of depression, he committed suicide in 1990. His friends say he destroyed all copies of his Led Zeppelin recordings. What has survived are the first generation copies he made and shared freely with other Zep fans. These are what are now being traded back and forth.

Millard was active from 1974 to the ‘80s and was said to have taped shows by Led Zeppelin, Pink Floyd, Yes, The Rolling Stones, The Who, Jethro Tull and even Kansas. To date, we have never found a copy of his Who or Tull recordings. The non-Zeppelin masters are known to be in possession of Millard’s family. Hopefully, someday they will be shared again.

This particular March 11 show has appeared many times before on the following bootlegs:
California Graffiti (Masterport),
California Sunshine (Badgeholders),
Long Beach Arena Complete (Confusion),
Long Beach 1975 (Flying Disc & LSD),
Pussy & Cock (Tarantura),
Standing In the Shadow of Midnight (Empress Valley), &
Zeppelin L (Akashic)

Of all the boots, probably the best and most complete is Masterport’s California Graffiti which is at the proper speed with the complete introduction and all onstage banter by Robert Plant. Millard also recorded the shows on March 12 and March 14. But that’s another story.
The Orchestral Hergest Ridge I
The Orchestral Hergest Ridge II

Trade CD --> EAC --> wav --> flac frontend --> flac level 8
Sector Boundaries Aligned
Ripped and encoded June 20th, 2005

Like The Orchestral Tubular Bells before it, this was arranged and conducted by David Bedford. The BBC recorded the premiere, performed by The Royal Philharmonic Orchestra with Steve Hillage (a member of the Kevin Ayers band) on guitar, on December 9th 1974. This was broadcast on television in early 1975.

A performance by the Scottish National Orchestra at the Kelvin Hall, Glasgow on May 5th 1976 (also featuring Hillage, Andy Summers - later of The Police - took part in other performances) was recorded by Radio Clyde. Virgin purchased the rights to this recording, with the intention of releasing it. 

The album was never released, possibly for several reasons. The Orchestral Tubular Bells was not a commercial success, and Mike is absent from all recordings of the Orchestral Hergest Ridge. Watching the television broadcast of the 1974 performance, Mike laughed at Steve Hillage's playing, and so he may have vetoed its release for this reason.
	Taurus I
	Platinum I
	Platinum II
	Tubular Bells II
	Sailor's Hornpipe
	Tubular Bells

Trade CD --> EAC --> wav --> flac frontend --> flac level 8 > DIME

On 31 October QE2 was issued.

The primary consequence for Mike of the second tour was pecuniary. Post QE2, he said, "I'm not into losing money any more. You know, in that first tour I really wanted to take the whole thing on - now I'd have somebody to look after the orchestra. They're nearly all MU members and they nearly went on strike on us about eight times. As soon as they see a TV camera they start demanding money. I've even thought about doing gigs completely by myself."

Mike did a long interview with Mal Reading on Independent radio reflecting on a number of key themes for his live work.

"It's extremely difficult music to do live because if you want to do it properly you've got to have at least fifty people. It might mean having four guitarists, and I've tried it like that, I've tried doing it half orchestral live and what I have since ended up with is just having very few people who are committed to this particular sort of music. And I feel it's there in spirit even if it doesn't sound like the record. That has been the most satisfying thing way of doing it is to get a manageable amount of people, musicians who are totally committed to the music."

"For QE2 what I did with the band that I took out in March was 12 people. You see the first time was 50, then it went down to 12, and I found that even twelve was too much, too many people. So its been refined down to six people including me, and it's the strongest it has ever been. If somebody had told me two years ago that I could get by with six people I would have said no, rubbish. But it is in fact easier because there's more communication and you've got more time to talk to each other. Particularly because there are so few people everybody has to give out more. If you've got lots of people you tend not to do so much as if there was just a few of you.

"I found it worked better on the road to have a more Socialist attitude with the people I was working with by giving them a share in the profits and things like that, making the whole show their show, our show. Rather than what I had done on a previous tour, which was - I was the boss, you've got to do what I say to get your wages - all I found that did was leave me a little bit out in the cold and caused bitter resentment. I want to share things in my own music, particularly live performances."

Mike's experience was tempering his philosophy in terms of man management, but it is clear that at this stage there is still a tension for him between reproducing to perfection the recorded music, and refreshing this with interpretative versions to fit the live mix. He seemed reconciled to moving ahead with fewer musicians mainly because it was cheaper and easier.

December 20, Germany: Dortmund [tv shows]

On 20 December 1980 Maggie Reilly sang Silent Night, Holy Night for the first time at Dortmund, Westfalen Halle. 
Taurus I
Tubular Bells, pt. 2/The Sailor's Hornpipe

Tubular Bells, pt. 1
Tubular Bells 2

There’s an old joke about the tourist in NYC who asks a elderly man, “How do I get to Carnegie Hall?”, to which the man replies, “Practice, practice, practice!” On March 1, 1993, I got there by winning tickets from WDRE (WLIR) to see the US premiere of Mike Oldfield’s Tubular Bells II. Lucky for us, someone in the audience had a very good set of stealth mikes. 

Some bits of useless trivia about the show:

The main band included five guitarists, one of which doubled on fiddle and another who doubled on banjo, three keyboard players, a computer programmer (also playing trombone), one pianist, one bassist, one drummer, one percussionist, one mandolin player, four vocalists, an MC, and, of course, mike on every guitar he could find . . . and bells. The complexity of the piece required a conductor, complete with score and baton.

Mike wore tuxedo, tails, and white sneakers.

The applause at about 25:50 is the MC’s entrance.

The chrome bells were mounted on a raised platform at the back of the center stage. Mike picked up the mallets and climbed the two steps to the bells just as the MC introduced them (29:00) – the spotlights reflecting off the bells were almost blinding.

The applause at 47:00 is for the fully uniformed bagpipe band marching onto the stage. They start playing about a minute later.

The studio album doesn’t include any real tubular bells. Mike used a computer to process some toy bells to get the sound he wanted. This live recording and the official Edinburgh Castle video are the only places to hear the piece performed with actual tubular bells. Additionally, the Edinburgh video has been (poorly) overdubbed in several places, so this is the only “true” live recording of the piece.

Trade history:
progsters offered 2007-08-04
Miles Davis (tpt)
George Coleman (ts)
Herbie Hancock (p)
Ron Carter (b)
Tony Williams (d) 

1 Intro 9:16 
2 Autumn Leaves (J. Prevert-J. Mercer-J. Kosma) 11:11 
3 So What (M. Davis) 11:15 
4 Stella by Starlight (N. Washington-V. Young) 14:15 
5 Walkin' (R. Carpenter) 12:36 
6 The Theme (M. Davis) (with applause) 1:18 

TT 50:46


Losin's website at 

September 20, 1963 (5 items; TT = 50:29) 
County Fairgrounds, Monterey CA 
Soundboard recording 
Miles Davis Quintet 

Miles Davis (tpt); George Coleman (ts); Herbie Hancock (p); Ron Carter (b); Tony Williams (d) 

Autumn Leaves (J. Prevert-J. Mercer-J. Kosma) 11:11 
So What (M. Davis) 11:15 
Stella by Starlight (N. Washington-V. Young) 14:14 
Walkin' (R. Carpenter) 12:36 
The Theme (M. Davis) (with applause) 1:13 

Autumn Leaves
CD: So What SW-042

So What
CD: So What SW-042

Stella by Starlight
CD: So What SW-042

CD: So What SW-042

The Theme (with applause)
CD: So What SW-042


The Quintet played the Monterey Festival at the beginning of a month or two in California; during that time Davis spent a lot of time collaborating with Gil Evans on the music to accompany Peter Barnes's play The Time of the Barracudas. Some of this music, probably only a fraction of what was recorded, was issued on Mosaic MQ11-164 and Columbia CXK 67397.

The Time of the Barracudas opened at the Curran Theatre in San Francisco on October 21. Ralph J. Gleason's review in the San Francisco Chronicle (October 24) was not a rave: "Miles Davis' music is used in 'Time of the Barracudas' all right and it's a good thing it is, since the play at the Curran has little else to recommend it."

The Davis Quintet was booked for three weeks at the Jazz Workshop in San Francisco (September 3-22), but the show was closed down on the 18th: the owner was charged with "employing a minor" -- Tony Williams! Other activity: Royce Hall, UCLA (September 28); It Club, Los Angeles (October 3-13); Adams-West Theatre (October 11-12 -- these were "after-hours jam sessions" scheduled for 2-6 am).
'Round Midnight
No Blues
I Fall in Love Too Easily
On Green Dolphin Street
The Theme

ORTF radio broadcast, but likely taken from pre-broadcast reels.
Miles Davis Quintet
Miles Davis (tpt); Wayne Shorter (ts); Herbie Hancock (p); Ron Carter (b); Tony Williams (d)

"Agitation" and "Footprints" were not broadcast and do not appear on any issued recordings of this date. The opening ascending run and set-up for the theme to "'Round Midnight" is missing on JMY and Golden Age of Jazz. In addition, the tunes are wrongly indexed on JMY: 1. 'Round Midnight (8:05); 2. No Blues (13:05); 3. Mascalero [sic] (8:40); 4. I Fall in Love Too Easily (9:00); 5. Riot (5:30); 6. Walkin' (9:40); 7. On Green Dolphin Street (16:50); 8. The Theme (0:40).

So...I retracked this using Adobe Audition.

Trade history:
jazzvines: offered 2007-08-04
Bitches Brew
It's About that Time
I Fall in Love Too Easily
Sanctuary/The Theme

from a Berlin TV broadcast
Miles Davis
Wayne Shorter
Chick Corea
Dave Holland
Jack DeJohnette
Late Show

Honky Tonk
What I Say
It's About That Time

Funky Tonk

Miles Davis
Gary Bartz
Keith Jarrett
Michael Henderson
Ndugu Leon Chancler
Don Alias, James Mtume Foreman

ORTF > ? > DAT@48kHz > S/PDIF and M-Audio Audiophile 24/96 soundcard > WAV > Soundforge 6.0 > CD WAV > FLAC

Sound: B+
Show: B+
Miles Davis (tp, p)
Bill Evans (ss, ts, fl, p)
Mike Stern (g)
Marcus Miller (b)
Al Foster (d)
Mino Cinelu (pc)
Back Seat Betty 09:55
My Man's Gone Now 11:13
Aida 13:44
Ife 11:27
Fat Time 07:45
Jean Pierre 13:39
Jean Pierre 06:50

Taped and transferred by Simon Shepherd
Miles Davis (tp, p)
Bill Evans (ss, ts, fl, p)
Mike Stern (g)
Marcus Miller (b)
Al Foster (d)
Mino Cinelu (pc)

Back Seat Betty 14:01
My Man's Gone Now 10:31
Aida 17:04
Ife 13:33
Fat Time 12:25
Jean Pierre 13:22

Taped and transferred by Simon Shepherd
Miles Davis (tp, p)
Bill Evans (ss, ts, fl, p)
Mike Stern (g)
Marcus Miller (b)
Al Foster (d)
Mino Cinelu (pc)

Back Seat Betty	14:37
My Man's Gone Now 09:52
Aida 18:47
Ife 13:23
Fat Time 10:54
Jean Pierre 15:40

Taped and transferred by Simon Shepherd
Perfect Way
New Blues (Star People)
Human Nature
Time After Time
Miles talks
The Senate
Me and You

This is an excellent sounding audience recording - A digital master from the pre-DAT era! Nakamichi cm700 microphones (with modified power supplies) > Sony F1 PCM Beta digital master > Beta PCM clone > standalone HHB CD recorder > Toast Titanium CD extraction > DigiDesign Pro Tools > xAct (Flac level 8 with sector boundaries verified). md5 file created with checkSum+.

Not from usual boot source which is off-pitch (slowed down by 2-3 percent).

Original taper: "Digital Dave" (I bet some of you remember this guy)
In a Silent Way
New Blues (Star People)
Perfect Way
The Senate/You and Me
Human Nature
Miles talks

Time After Time
Movie Star
Funk Suite (Heavy Metal part one)
Heavy Metal
Don't Stop Me Now
Miles talks
Venue music

Miles Davis: Trumpet, Keyboards
Kenny Garrett: Alto Sax, Soprano Sax, Flute
Adam Holzman: Keyboards (right)
Joe “Foley” Mc Creary: Lead Piccollo Bass Guitar
Joey De Francesco: Keyboards (left)
Benny Rietveld: Bass Guitar
Marilyn Mazur: Percussion
Ricky Wellman. Drums

PA SBD>MCA (Sony TCD 5MP, Sony HF, no Dolby)>D.N.E. (single end NR)>Aural Exiter>CAS (PB: Nakamichi LX-3)>Marian Marc 2 (Setting: 24 bit/ 64 Khz)>HDD>Remaster with WaveLab 7.0, using Sonic Foundry Noise Reduction at highest solution, and other 32 and 64 bit plug ins, down sampling to 16 bit/44.1 khz, normalisation to -0.01 db>CD WAVE (tracking)>FLAC Frontend.
Broadcast: 2006-08-16
Performance date: 2006-01-27 

Lineage: fm>SoundBlaster>wav>Nero WaveEditor (for levels only +6db)>flac 

Conducted by JoAnn Falletta
Edgar Meyer, db 

Announcer 0:57
Kodaly: Galanta Dances 16:57

Announcer 1:08
Bottesini: Double Bass Concerto No. 2 in B minor
Movement I-allegro moderato 6:06
Movement II-Andante 5:59
Movement III-allegro 5:18

Announcer 0:54
Meyer: Double-Bass Concerto in D
Movement I 5:27
Movement II 5:43
Movement III 5:02

Announcer 0:54
Rachmaninoff: Symphonic Dances 
Non allegro 11:11
Andante Con Moto. Tempo Di Valse 9:11
Lento Assai - Allegro Vivace 13:00

Total Time: 87:52
Disc 1 Set 1
01-Harder They Come
02-Better Place
03-Mountain Top
04-Cats Down Under the Stars
06-Speed Train
07-It Shows
08-Irie Treehouse->Girls House->Irie Treehouse

Disc 2 Set 2
09-Shakedown Street->
10-B's D->
11Shakedown Street
13-Rubin & Cherise
14-Grey Bri
16-Washed In Blue

Source: Mackie 1402vlzpro SB/NakCM300CP1>Behringer UB1832FX-Pro>Archos AV420
Lineage: Archos AV420>USB>Goldwave5.12>Flac1.1.2a
Recorded by: <a href="http://www.myspace.com/shivaho" target="_blank">Shiva Ho</a>
Notes: Naks xy 9' up 5' center stage Matrix
C.C. Rider
Avalon Blues
Nobody's Dirty Business
Make Me A Pallet On Your Floor
Stack-O'Lee Blues

traded from JK
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1.  Superheroes Of BMX
2.  Xmas Steps
3.  May Nothing But Happiness Come Through Your Door
4.  Summer
5.  New Paths To Helicon pt. 2
6.  Small Children In The Background
7.  Stanley Kubrick
8.  Ex-Cowboy
9.  Christmas Song
10. New Paths To Helicon pt. 1
11. Like Herod

source: Core Sound Binaurals > B.Box > Sony TCD-D7 > DAT master > Tascam DA20-mkII > Hosa coax/optical > Zoltrix Nightingale optical 
transfer card > Cool Edit Pro > dEQ > resample 48k->44.1k > CD Wave > FLAC (level 8)
1. You Don't Know Jesus
2. Mogwai Fear Satan
3. Star Wars
4. Cody
5. Christmas Steps
6. C# (Hunted By A Freak)
7. Yes! I Am A Long Way From Home
8. Helicon 1
9. 2 Rights Make 1 Wrong
10. Like Herod


Recording: soundboard > Sony PCM-M1
Extraction: CD-R (unknown generation) > EAC v0.95b1 (secure) > FLAC Frontend 1.7.1 (level 8)
Laswell bass solo

Nils Petter Molvær - tr
Bill Laswell - b
Eivind Aarset - g
Hamid Drake -dr
Aiyb Dieng - perc
Early and Late shows

Early Show:
Hard Travellin' (All)
Intro Tom Russell > Blue Wing
South Coast (Ramblin' Jack)
Intro Chris Smither > Link Of Chain
Intro Dave Alvin > New Highway
Gallo Del Cielo (Tom Russell)
Buffalo Skinners (Ramblin' Jack)
The Devil's Real (Chris Smither)
California Snow (Dave Alvin)
Railroad Bill (Ramblin' Jack)
The Last Bar On Earth (Tom Russell)
Cup Of Coffee (Ramblin' Jack)
Hold On (Chris Smither)
Blackjack David (Dave Alvin)
Isn't It A Pity When Irish Girls Grow Up (Tom Russell)
Don't Think Twice, It's Alright (Ramblin' Jack)
Winsome Smile (Chris Smither)
King Of California (Dave Alvin)
Do Re Mi (Ramblin' Jack)
E: Wabash Cannonball/Train So

Late Show:
Show Intro > Hard Travellin' (All)
Beyond The Blues (Tom Russell)
Song Intro (Ramblin' Jack)
Pastures Of Plenty (Ramblin' Jack)
Can't Shake These Blues (Chris Smither)
Song Intro (Dave Alvin)
West Texas Woman Blues (Dave Alvin)
Song Intro (Tom Russell)
The Sky Above, The Mud Below (Tom Russell)
Song Intro (Ramblin' Jack)
Friend Of The Devil (Ramblin' Jack)
Song Intro (Chris Smither)
High Heeled Sneekers > Big Boss Man (Chris Smither)
Mary Brown (Dave Alvin)
East Virginia (All)
The Last Bar On Earth (Tom Russell)
Waiting For A Train (Ramblin' Jack)
Caveman (Chris Smither)
Dry River (Dave Alvin)
Song Intro (Tom Russell)
Throwing Horseshoes At The Moon (Tom Russell)
1913 Massacre (Ramblin' Jack)
I Am The Ride (Chris Smither)
(I Won't Be) Leaving (Dave Alvin)
Do Re Mi (All)
Dixie Darling (Encore) (Ramblin' Jack)
Wabash Cannonball/Train Medley (Encore) (All)
Applause > 2nd Encore Intro
Railroad Bill (Encore) (All)
Set I
Hard Travelin' (all)
Blue Wing (TR)
Pretty Boy Floyd (JE)
Link Of Chain (CS)
New Highway (DA)
When Irish Girls Grow Up (TR)
Winsome smile (CS)
South Coast (JE)
Blackjack David (DA)
East Virginia (all)
Out In California (TR)
Waiting For A Train (JE)
The Devil's Real (CS)
Dry River (DA)
Dixie Darling (JE)
Set II
Railroad Bill (all)
The Sky Above, The Mud Below (TR)
Don't Think Twice, It's Alright (JE)
Rock 'n Roll Doctor (CS)
Wanda And Duane (DA)
Veteran's Day (TR)
A Cup Of Coffee (JE)
Caveman (CS)
California Snow (DA)
The Eyes Of Roberto Duran (TR)
1913 Massacre (JE)
Love You Like A Man (CS)
King Of California (DA)
Do Re Mi (all)
Wabash Cannonball/The Promised Land/The Wreck Of The Old '97 (all)
with Dave Alvin, Chris Smither, Ramblin' Jack Elliott and Tom Russell
No info
Early show
Set I
1- Suzanne Ciani- ?
2- Suzanne Ciani- Rain
3- Suzanne Ciani- The Velocity of Love
4- Maximum Grooves- Cactus
5- Maximum Grooves- Hypnotized
6- Joe Gallivan and Graham Haynes- ?
7- Bernie Worrell and DJ Logic- ?
8- Bernie Worrell and DJ Logic- ?
9- Keith Emerson- Happy Birthday to Rick
10- Rick Wakeman (with Jordan Rudess)- excerpts from Six Wives and Journey

Set II
1- Pamelia Kurstin- ? (on Theremin)
2- Eumir Deodato and Steve Molitz- Also Sprach Zarathustra
3- Stanley Jordan- ?
4- Stanley Jordan- ?
5- Stanley Jordan- ?
6- Bob Moog Speech
7- Keith Emerson- America
8- Keith Emerson- Hoedown
9- Keith Emerson- Tarkus
10- Keith Emerson- Fanfare for the Common Man
Source: Soundboard
Quality: A+

CD Trade > EAC (wav) > FLAC Frontend encode level 7 > You (Enjoy!).

Bill Bruford: Drums
Patrick Moraz: Piano


CD 1 (Lenght: 42:16)
01. Blue Brains
02. Hazy
03. Eastern Sundays
04. Cachaca
05. Galatea
06. The Drum Also Waltzes

CD 2 (Lenght: 40:59)
01. Improvisation on 3 Notes
02. Children's Concerto
03. Any Suggestions
04. Piano Solo
05. Improvisation
06. Black Silk

pablodrums (July 10, 2007)