A| B| C| D| E| F| G| H| I| J| K| L| M| N| O| P| Q| R| S| T| U| V| W| X| Y| Z
Jan Garbarek/Bobo Stenson Quartet - Haus der Jugend, Graz, Austria, Jul. 4, 1974, FM
Jan Garbarek/Bobo Stenson Quartett July 4, 1974 Haus der Jugend, Graz Austria Source/Quality: FM/vg Jan Garbarek (ss, ts, fl); Bobo Stenson (p); Palle Danielsson (b); Jon Christensen (d) 1)Desireless (D. Cherry) 25:26 (Voiceover introduction 0:22-0:40) 2)Spiral Dance (K. Jarrett) 15:02 3)Passion Dance (M. Tyner) (fades out into announcement of the presenter) 3:41 4)Hasta Siempre (C. Puebla) 12:24
Jan Garbarek - Warsaw Jazz Jamboree, Warsaw, Poland, Oct. 23, 1983, SBD
Jan Garbarek Warsaw Jazz Jamboree 1983 10/23/1983 Warsaw, PL Sala Kongresova Personell: Jan Garbarek: sax David Torn: guitar Eberhard Weber: bass Jon Christensen: drums Lineage: sbd>mca (Teac C-3, Maxell XL II ,Dolby B, PB: Nak LX-3)>Marian Marc 2 (setting: 24 bit/64 khz)> remastered with WaveLab 5.0, using 32, 48 & 64 bit solution plug ins>16/44.1 downsampling>norma lisation to -0.01 db>CD Wave tracking>Flac Frontend (level 8)
Danny Gatton - Trax, Charlottesville, VA, Dec. 30, 1989
Danny Gatton Trax 12/30/89 (this date is incorrect) Charlottesville, Va DISC - 1 Rainbow Riot (by Bill Doggett), Funky Mama, Heartaches By The Numbers, Blues Newberg, Honkytonk Country Girl, Walking DISC - 2 Tequilia, Satisfied Mind (by Porter Wagner), Want Your Lovin', Jazz, Mustang Sally, Harlem Nocturn, Shake Rattle n' Roll / Rock This Joint enjoy, Looney
Danny Gatton - Tribute, Tramps, NYC, Jan. 10, 1995
Danny Gatton Tribute Tramps - New York, NY January 10, 1995 dat audience master > sonic studio mics > HHB 850 > wav > nero > flac disc one 1.(Danny Gatton's Band) 2.Tequila (Danny Gatton's Band) 3.(Danny Gatton's Band) 4.(Danny Gatton's Band with Albert Lee) 5.When a man loves a woman (Danny Gatton's Band with Albert Lee) 6.(Danny Gatton's Band with Albert Lee) 8.let the good times roll(Danny Gatton Band with Albert Lee & Les Paul) 9.(Danny Gatton's Band with Albert Lee & Les Paul) disc two 1.new orleans boogie (Jim Weider) 2.many rivers to cross (Jim Weider) 3.(Jim Weider) 4.trouble comes around (popa chubby) 5.sweet goddess of love and beer (Popa chubby) 6.same old blues (Popa chubby) 7.gotta treat her right (Tinsley ellis) 8.(Tinsley ellis) 9.(Tinsley ellis) disc three 1.you should have been there (Marshall Crenshaw) 2.what do you dream of (Marshall Crenshaw) 3.look over yonder wall (Haynes, Woody, Trucks,Jaimoe) 4.same thing (Haynes, woody, trucks, Jaimoe) 5.you don't love me (Haynes, woody, trucks, Jaimoe) 6.have mercy (Haynes, woody,Trucks, Jaimoe) 7.Born Under a bad sign (Haynes, woody, Trucks, Jaimoe) Performing Artists: Danny Gatton's Band (Bill Holland, Shannon Ford John Previte, Joe Dalton), Albert L ee, Les Paul, Jim Weider,Uptown Horns, Popa Chubby,Tinsley Ellis, Marshall Crenshaw, Warren Haynes, Allen Woody, Butch trucks, Jaimoe, Hook Herrera, Mark Quinones, Danny Lewis
Marvin Gaye - Budokan, Japan, Nov. 13, 1979, SBD
Marvin Gaye Budokan November 13, 1979 Sound: Excellent Broadcast or Soundboard But the Presence of Crowd Noise Would Seem to Indicate a Broadcast. CDR > EAC (secure) > mkw > shn Got to Give It Up When I First Saw You What's Going On Who Is To Blame Inner City Blues Funky Space Reincarnation How Sweet It Is Band Intro/Trouble Man Ain't That Peculiar Yeah Yeah Yeah/Pride and Joy Pride and Joy Darlin' I Love You Heard It Through the Grapevine Going To Chicago Need You Baby Too Busy Thinking About My Baby Distant Lover Thank You/Goodnight
Genesis - Pop Shop, Brussels, Belgium, Mar. 20-21, 1972, Hogweed #9
HW09 TV studios 'Pop Shop', Brussels, Belgium, 20th & 21st March 1972 1. Fountain of Salmacis 2. Twilight Alehouse 3. The Musical Box 4. Return of the Giant Hogweed Jahrhunderthalle, Frankfurt, Germany, AFN Radio, 17th January 1973 5. Watcher of the Skies 6. The Musical Box 'Melody' Programme, ORTF TV Studios, Paris, France, 12th Feb. 1974 7. I Know What I Like 8. Supper's Ready This is a collection of some of Genesis's TV and radio sessions in Europe during th e early 70s. Together with the 1970-1972 BBC sessions, these are the complete recor dings we have of early Genesis performing in a studio, apart from their actual albu ms. There are two other European broadcasts from this period; the Bataclan TV s ession in 1973, and a poorer quality French radio broadcast of excerpts from the sh ow at the Olympia on the 7th May 1973. But these, like the later King Biscuit Flowe r Hour, Capitol Radio and BBC broadcasts, are all recordings of the band live on st age. Whilst Bataclan & Olympia would make a nice companion to this set from the Eur opean airwaves, the sound quality on Bataclan, and even more so the Olympia materia l, is not comparable to the above sources. Needless to say, each of the above come from the best known sources I could find; MTV studios 'Pop Shop', Brussels, Belgium, 20th & 21st March 1972. This has been widely circulated as a video for many years, and is well known. Its also been making a video CD appearance on the H ogweeds list. The audio for this has been available on the Chapter One boot CD 'Tan go', but I think you'll find the audio on this remaster a significant improvement o n that muffled version. ^M^MThe audio for the Belgium session comes from the master tapes - I know little more than that. Suffice to say it sounds as though it does. Whilst beautifully clear, the one problem with this audio is that it is quite com pressed, sounding brittle and almost to the point of distortion in places. I have e ndeavoured to open up the sound by using an expander, primarily on the bass. This h as toned down the bright sound, and brought some of the dynamics back into the musi c again. The audio mix doesn't show Genesis's usual perfectionism and attention to detail. There are times when there are surges in instruments, Pete's vocals fad e into the background, or something will leap into the foreground. You'd expect all these to happen in live performance of course. But in a studio session it shows th e time constraints they were working under, having only two days, and the likelihoo d that the visuals took some precedence over the soundtrack. So what we hear is Genesis live in the studio, never the most easy environment to bring out passion i n a performance. Never-the-less, Peter, as can be seen from the video, leads the gr oup in a vigorous rendition of some of their most energetic live pieces. Jahrhunderthalle, Frankfurt, Germany, AFN Radio, 17th January 1973 This recording was sourced from a low generation cassette of the broadcast, likely a 1st gen. Unlike many poorer versions in circulation, this tape shows the clarity of the original re cording. However it still benefitted from quite a bit of cleaning up, denoising to sharpen and bring out the treble. The recording was made in Jahrhunderthalle (C entury Hall) in Frankfurt, and whilst it is a close soundboard recording, it presum ably comes from a live concert performance. The alternative, that the band were tap ed performing only two songs in front of a live studio audience, would only seem li kely if other bands were also performing, in which case the announcer's "The last p iece of music I'd like to introduce...." may have context. There is some ambigu ity in the dating, as the official Genesis timeline has them on tour in Germany on the 17th January, but not in Frankfurt, and no mention of this broadcast being reco rded. Whilst the official timeline is not 'The Bible' of Genesis tour dates (for in stance they list UK gigs performed at the beginning of the Lamb tour which were can celled after Steve injured his hand), it seems the exact date and even location of this performance may be up for review. However the performance almost certainly com es from the January 1973 German tour. One feature of this recording, and it is unique amongst much of Genesis's recorded legacy, is that for once, Peter is much l ouder in the mix than the whole of the rest of the group :-)) From Thomas Holter 's notes on this broadcast, he translates the introduction as; "The last piece of m usic I'd like to introduce now is something that we might like to call 'elektolore' . It's folklore and everything mixed into it, and it's electronic; how else could i t be called? Anyway it's a very interesting group, which I've already met a couple of times before. So, this is Genesis!" Thomas goes on to comment that it is unli kely that AFN radio have kept their master tape of this broadcast, and it is likely lost. Some tape versions of this broadcast in circulation have included a trun cated version of Supper's Ready as part of this Frankfurt broadcast. However this c omes from the French ORTF 1974 TV session, and is recognisable as SR comes in at ". ..six saintly shrouded men". This is the version that appeared on the Highland disc "Willow Farm in Rainbow". 'Melody' Programme, ORTF TV Studios, Paris, France, 12th Feb. 1974 ...and until recently, that truncated Supper's Ready was all that was circulating of this TV studio session. About a year ago Highland released a video of the full set, SR being preceeded by I Know What I Like, plus some intro soundtrack of the instrumental part of Firth of Fifth from the offical release. Ho wever the Highland version is somewhat muffled and not of low generation. This remaster has been prepared from a 2nd generation copy of the Hifi VHS. The audio is brighter and cleaner than any other available version, including Highland's "Willo w Farm". However there is significant overload distortion in places where Mike hits the bass pedals; 'Guaranteed Eternal Sanctuary Man' is probably the worst. This is present on the Highland versions as well, its just that you can't easily hear it a s such under the muffled audio. There is nothing I can do to improve this, once th e distortion is on there I cannot remove it. However I have brightened the treble a nd denoised by about 6Db. The Melody video is notable for the 'star effects' th at circle Gabriel and the band during the early sections of Supper's Ready. Stills from this, plus others from the Belgium 72 session, are featured in the cover art b y Peter Ohgren for this Hogweed release. And its worth noting that the back tray ph oto of the band, with Pete and Phil having a friendly cuddle (love em), comes from after the Belgium session.
Genesis - Reading Festival, Reading, UK, Aug. 11, 1972, Hogweed #3
HW03 Reading Festival, Reading, UK. 11th August 1972The Concert The Concert This recording is the cure for anyone who believes that Genesis are a genteel English a rt band that can't rock. Its a gutsy performance and an appropriately gritty but de tailed recording. The Knife in particular, is frightening in its power and intensit y. Genesis were only on stage for around 50 mins, and this tape seems to captur e the complete set. It sounds as though the recording was made from close to the st age, as the music is direct and clear - you can even hear some things happening on stage, not via the PA! Also it sounds as though the bulk of the audience are behind , not in front of, the microphone. The PA mix seems to be a bit wayward at time s. Rutherford's bass is quite prominent, although this is primarily due to a 'wolf' note around 100Hz, which I think comes from the PA, not the recording. Gabriel's v ocals get a bit lost at times, and possibly this is due to his cavorting with the m ic stand, as described by Andy. The verses of Watcher of the Skies are a bit lament able for this reason, not helped by the prominence of the backing vocals, which are somewhat wayward in tone. This sounds more like Rutherford singing, rather than Co llins, but I'm not sure. But Steve Hackett's guitar is fantastic, one of his most a ggressive and unrestrained performances. There is even a bit of unintentional feedb ack happening in Musical Box (tr 8, 6:50), which Steve uses to great effect. This show has been widely available for some time, both as traded tapes of varying qua lity, or the vinyl boot "Come Ancient Children". More recently, Highland's "Coastli ners" disc contains The Knife and Twilight Alehouse from this recording, although n ot credited as such. If you have this disc, you may like to compare the sound quali ty with this Hogweeds version. It makes an interesting comparison :-) The Source My source comes from a CDR, thought to be from a 1st generation tape (thanks Mark :-). When I first heard it, I thought it was suprisingly good, not only sound qual ity, but quite hiss free for a tape of this period. Certainly 1st gen sounded very likely. Upon listening and working on this recording though, I have come to two hyp otheses; Firstly, I believe this recording was made on a reel to reel machine. T he sound quality, particularly the punch in the bass, is just too good for cassette s of the period. Also the noise frequency profile is more like that of reel to reel - more midrange than treble hiss, and very little rumble. Secondly, its possib le the CDR I've worked from may come from the master reel to reel tape. There is so me strong, low (around 30Hz) frequencies on this recording that are unlikely to hav e come from cassette, as the thin tape just won't carry them. One reason to doubt t his theory, is that if this CDR came from masters(!), it would likely have retained this information in its travels. So the jury's out, but when all is considered, it s a great source. There are a few edits in the recording, which sound as though they are on the master. 2 occur just before Knife, one at the beginning of Gabriel 's introduction (tr 1, 1:31), which cuts in with "a brand new number...", the secon d cuts off the first 2 notes of the song. I have carefully restored these first not es, and I think the repair is pretty convincing, if I do say so myself :-). The last edit omits some audience ambience after the applause for Musical Box (tr 8, 1 0:18), and cuts in again just as Phil says "got a very important message here...". At first I thought this last edit may be a 90 min cassette tape flip, at 45 mins. However, I have several versons of this recording from different tapes, and all the se edits are identical. The Restoration The recording is glorious mono, and I have done nothing to enhance that. The source was very stable and centralised in stereo, so I have left it that way. Denoising has been minimal, around 5Db of h ighs and mid frequencies. There are gentle swells in the background noise on this s ource throughout the recording. This is more noticable at some times than others. T he denoising has not made this any more noticable, but neither could I balance it o ut. There were times, mostly at the beginning of the recording and between song s, when an amount of microphone fumbling was embarked upon. I have removed much of this, not by editing these sections out, but by filtering the bumps and scratches. There are several small dropouts, most of which don't detract. There is one which I have repaired, toward the end of Knife, when Gabriel sings "We have won!" the se cond time. Lastly, that 100Hz wolf frequency in the bass was attenuated 4Db, wh ich just tames it a little, but you can still notice it, particularly during Watcher. Memories of the show, by Andy Wilkinson The annual Reading festival is held over August bank holi day weekend and is one of the most long and enduring festivals held in England, and goes back as far as the 60's. Originally known as the Reading Jazz, Blues, and Roc k Festival, the organisers recognising the appeal of "rock" with more die-hard and willing devotees to attend the gatherings, concentrated the line-ups with an increa sing number of known and less known rock "acts". By the early 70's Reading was seen as a showcase for up and coming British talent with a mix of the more established "name" bands as well as a diminishing smattering of blues and jazz. People like Ror y Gallagher were perennial names at Reading year after year. The organisers were no t slow to also include at least one or a couple of American artists too. So back to 72 and Genesis first appearance at the auspicious Reading festival: they were b illed to play during the evening of the first day which commenced as usual around m idday on the Friday. Still relatively unknown outside the club and college circuit of London and the home counties, this was to be an interesting test of their appeal in front of a very mixed bunch of festival goers, many present to see other more p rominent headlining bands. If I recall rightly, they came on stage sometime arou nd 8pm and were to be given little more than 40-45 minutes to play a relatively cur tailed set. Being late August it was still pretty light at this time and they were to have limited use of any stage lighting during the early part of the set. With 40 odd minutes to play, it was going to be an interesting short set. They opted to go "hell for leather" from the start and kicked off with a frenetic "The Knife". T hey sure as hell grabbed a lot of people's attention as darkness fell, and PG was a s usual the focus of everything up there on stage. Next "Twilight Alehouse" seemed to please the crowds with the slurred organ finale, then straight into "Watcher". F or those who hadn't seen the band "live" before, this was a new song that had yet t o be released on album at this time. Now getting pretty dark, the majestic choral o pening really did catch the atmosphere of the evening, and the crowd was definately warming not to say mesmerised by a young band who sounded totally and radically di fferent to anything that appeared before. "Musical Box" followed then it was to be the conclusion of a short but both ear and eye-catching set with "Hogweed". Always a great ending to the set with PG darting to the left then right of the entire stag e, mike-stand held high above the head as if about to launch a javelin throw. They had stolen Friday evening musically and created a wonderful hour of festival atm osphere on a warm August evening. I recall a distinct puncturing of the mood after the set, created by the band Mungo Jerry who immediately followed Genesis. A one-hi t wonder pop-skiffle outfit who only succeeded in exposing their own limitations fo llowing on the heels of such an upbeat set by Genesis. The line-up for that Friday evening was miscalculated and askew; however "G" were a relatively unknown outfit w ho could not be considered headline material at this stage in their career. They ce rtainly turned heads by this performance and sure won many new friends.
Genesis - Stadthalle, Heidelberg, Germany, Jan. 15, 1973, Hogweed #6
HW06 Notes Stadthalle, Heidelberg, 15th January 1973 1. Watcher of the Skies 2. Twilight Alehouse 3. Get 'em Out by Friday 4. The Musical Box 5. The Return of the Giant Hogweed The Concert This concert was performed as part of a Charisma festival package tour, and Genesis by this time were headlining the bill. Accompanying them on the tour were Lindisfa rne, Peter Hammill of Van der Graaf Ganerator and Capability Brown. Their set was short, only 50 mins, so songs like Supper's Ready didn't get played. The entire con cert is documented on this recording. This show was around the middle of the Foxtrot tour, so they had been performing th is material for 6 months, in the UK and Italy at least since the latter parts of 19 72. Both in Italy and at home, Genesis were becoming a big drawcard and getting an enthusiastic response. So this recording represents the Genesis that was turning he ads in Europe, and beginning to get the broader recognition from audiences that the y deserved. And what a great set it is too - brought to life by this wonderful and very dynamic recording. The energy and power of the performance is well captured, and there is a huge sense of the hall ambience. The recording sounds as though it was made from a fair way back from the stage. Gabriel's vocals are disappointingly down in the mix throughout though, most notica bly at the beginning of Watcher. And Tony's keyboards are not as prominent as usual either. However Phil's drumming is quite spectacularly captured. The Recording Initially I was offered a 2nd generation tape of this show, from someone who had tr aded it direct from the taper. After a post on the net, we managed to track down th e guy who originally taped this concert. Unfortunately, he is not on the net, or em ail, and has not graduated from analogue to the digital age yet. Thus I was unable to get a copy direct from his source tape. But this is what I found out: The show was recorded on a Telefunken reel to reel machine, using BASF 13" reels an d a Grundig microphone. Now here's the sad part: to save tapes, the taper would tra nsfer his original recordings at home to a big 4-spur reel, using his Grundig machi ne. Then he would reuse his master tapes for another show. (In the 70s he recorded over 300 shows - what a treasure there must be in his collection!). Thus the master copy of this recording no longer exists. At best there is the 1st g en reel that he still has. But it is rendered inaccessable as he is unable to copy it to anthing but an analogue medium. So the 2nd gen tapes he makes are the best th at we have (for the time being... :-). There are 3 versions of this show that I know of: i) A poor CDR boot, which is the one I believe is in wide circulation. This transc ription comes from a low gen tape, maybe 3rd or 4th gen, and is pitched quite fast, so it is a half tone sharp at least. It is quite muffled, and a roll off filter se ems to have been applied to the treble to minimise the distractions of hiss. ii) The 2nd gen tape I have. This tape sounds quite clear, although it misses the G erman introduction, and has some very nasty high frequency distortion during the fi rst few minutes (Gabriel's intro). Plus it is not as bright in the treble as... iii) A CDR, probably from a 2nd gen tape, but it sounds so sharp and clear in the t reble that I wonder whether it may come from a reel to reel source. Compared with t he other versions it is glorious, dynamic and detailed. However it has one annoying problem; cross talk. Throughout the recording there is a print through of another track of music, it is soft, but noticable in the quieter sections. The Audio Restoration I have chosen to work primarily with the 2nd gen CDR version, splicing in quieter s ections from the 2nd gen tape where cross talk was noticable. These are often secti ons where Phil is not drumming, so there is no loss of his cymbal work. The differe nce between the two sources in terms of general clarity and hiss is quite minimal, so the splices are quite unnoticable. The CDR version was pitched slightly fast, so I had to digitally re-pitch it, and t hen edit in those quieter sections. Once that was completed, I removed the rather p rominant 50Hz hum throughout the recording, and cleaned up the bass rumble as well. The bass is quite light on this recording, and very difficult to balance. It sounds quite variable throughout the recording. The songs Twilight Alehouse and Musical B ox are not very bassy, but Watcher, Get em Out and Hogweed, when Mike returns to ba ss guitar, are strong again. So getting the right balance was a bit open to guesswo rk. The recording also had a 'boxy' peak in the lower midrange, which I've attenuat ed. Other than those, the frequency equalisation is natural. This recording has a beautifully detailed and clear top end, and I decided not to d enoise it. The hiss levels are relatively quiet, but to clean them up would have me ant losing a host of fine musical details, particularly in Phil's cymbal work. Ther e is such a nice grain and texture to the treble, that I decided it had to stay the way it was. I feel the hiss is soft enough that it is not really a distraction any way. Volume levels are very realistic, by virtue of the fact that the recording was made without auto record levels. So all the dynamics of the original performance are ca ptured beautifully - notice the power of Twilight Alehouse and Musical Box. There w ere a few moments when the volume levels were manually changed during the recording , most noticably the first sequence of Musical Box, and I have restored the volume levels where this has occured. The recording is mono, and I have added some early reflections to open up the stere o image a little. Considering the amount of echo on the raw recording though, any e xtra reverb would have been overkill, so it has not been added.
Genesis - Massey Hall, Toronto, Nov. 8, 1973, Hogweed #1
Sound editor's notes; Massey Hall, Toronto, 8th November 1973. The Show; This show comes from a very good audience recording, and one of the rare stereo recordings of the period. There are interesting moments when the stereo mix in the PA is quite apparent; listen for Steve's guitar whizzing from side to side during Watcher, and again Steve's decorative notes during the 'Old King Cole' section of The Musical Box. However the taper also had a habit of 'wandering' the microphone from side to side in time with the music to create a simulated stereo shift - hey it was the 70s, stereo was a novelty! This is particularly noticeable during the intro to Watcher and sections of Supper's Ready. The show was not taped using automatic record levels, and hence it presents the relative dynamics of an early Genesis show very accurately. This is a powerful performance, and Watcher stands out as one of the most majestic versions I have heard. Cinema Show is also powerful, with great drumming from Phil. You can hear the audience's reaction to the flash pots going off at the beginning of the New Jerusalem section of Supper's Ready. Listen also for tuning problems with Tony's keyboards; during the first half of the set his electric piano seems a bit out, and the melotron goes slightly off during the closing sections of Apocalypse. The show was apparently performed without a light show, both Gabriel and Collins apologise for the fact that their lighting gear is stuck in a truck broken down somewhere between Quebec and Toronto. This incidentally confirms the date, as they played Quebec the night before. The Source; I have sourced this recording from a 2nd generation tape. This tape is 90mins long, and thus the show is incomplete, missing Epping Forest (and possibly Horizons, if it was performed that night). This 90min version is all that seems to be known, and I have reasons to believe that the 2nd gen is the best that may exist, short of finding the master. On a close listen to the tape, what I believe has happened is this; The taper begins recording the show on a C90 tape, which runs out after 45 mins and is flipped at the crescendo of Steve's guitar solo in Firth of Fifth (bummer!), so we're onto another tape side at that point. Given the other 5 mins of Firth, plus 12 odd mins of Epping, an intro, maybe Horizons, we're now coming up to over 20 mins into that side. (It could even be a second tape, maybe only a C60.) Then Gabriel begins introducing Musical Box. A minute or so into the intro, enough time to realise 'this is going to be Musical Box, and its going to run around 12 mins', the guy decides to flip the tape again. You can hear the edit; someone in the audience nearby calls out "Bill!", the end of the word is cut, then Gabriel's whistle indicating the trajectory of little Henry's head. It seems to me there may be a section of Gabriel's intro missing, the description of Cynthia coming up behind him with her mallet raise high etc. Anyway, now we're onto another side of a C90 tape, and it runs straight through, running out exactly as expected 45 mins later, just on the final bars of Supper's Ready. From those tapes, I believe someone, probably the taper but possibly a close associate, has compiled a single 90 min tape to trade with (thus a first gen). They've dropped Epping Forest and joined up the other sections. The taper may have had record problems during Epping Forest, and so left it off his duplicating master. Thus I believe everyone who has this show, from when it was originally traded in the late70s/80s, only has 90 mins on 2nd gen copies. Another interesting note is that this tape was made by the same guy who recorded Pink Floyd at Maple Leaf Gardens on the 11th March, 8 months earlier. The stereo wanderings are very recognisable (and work better with Floyd). He taped the complete Floyd show at 125 mins, and it is almost certain he would have been set up to do the same at this show (hope for the missing songs maybe?). Also, a nearby member of the audience, presumably a friend, was in the habit of shouting "Yeeshkull!!". During the Floyd show Mr. Yeeshkull is prominent enough to have the boot version of this show named after him. During this Genesis gig however, he is much more subdued (although there are some other guys nearby who are very vocal - 'Robot!' and 'Voice of Spider!' notably). At one point, just before Mike's 12-string intro to Cinema Show, you can hear this guy say, "Maybe I should give a Yeeshkull!!". I'm glad he doesn't, but it does suggest this was his signature call at concerts. Again, it was the 70s! :-) The Restoration; This tape was a difficult one to work with. Firstly it was relatively hissy, with a dramatic drop off in treble information above 4KHz, to almost nothing above about 8KHz. However it contains a wealth of fine detail. The problem was how to drop the hiss levels without loosing all that textural detail and ambience, whilst bringing out what little information was to be heard in the top end. My decision has been to leave a noise floor that still includes ambience and harmonic detail, but hopefully reduces the hiss to less obtrusive amounts. Phil's cymbals still lack 'Ting!', its just not on the source, but I've brought the treble up to realistic levels - the melotron intro to Watcher is lovely and gritty. Also the bass was very subdued. I have ended up isolating everything below 150Hz and remixed it in. A lot of Mike's bass pedal work in Supper's Ready was difficult, almost not there at all. There was also significant 'woofing' of the microphone during loud midrange peaks: Gabriel's vocals during quieter sections, nearby audience members etc. Plus bumping of the microphone between songs and during More Fool Me, all of which I have removed. The recording is pitched accurately, and there has been no alteration of dynamics, as automatic record levels were not used.
Genesis - Student Union Auditorium, University of Toledo, Toledo, Ohio, Apr. 6, 1974, Hogweed #4
HW04 - Student Union Auditorium, University of Toledo, Toledo, Ohio. 6th April 1974 Sound editor's notes, from Andrew Skeoch The concert This recording is a complete Selling England show from the magnificent second US SE tour of early 1974 . The recording documents Genesis at their mature best, playing some of their most evocative music, and features a nice version of Horizons. This recording docume nts the complete concert, from a minute before the first melotron chord of Watcher, to the final applause after Supper's Ready. The show is performed impeccably. It i s interesting to note the audience's extended applause after The Musical Box. I sus pect the band left the stage after this number, leaving Steve to do his solo - a ge sture that was interpreted by the audience as the end of the show, and thus cause f or much foot stomping and hollering. I have this picture of Phil having to come bac k on and rescue him! The taper of this concert gives a running commentary to a f riend throughout the show, which may be annoying, amusing or entertaining, dependin g upon your point of view. Certainly some of his comments give an interesting sense of what is happening on stage. His conversation at the beginning is particularly i nformative - and "totally shredded" has now entered my vocabulary :-) The Source Master of 1st gen sources of this show are unknown. There are 2 CDR versions o f this show in circulation (that I know of): Source 1: This set has Watcher to H orizons on disc 1, and Epping Forest to Supper's Ready on disc 2, plus bonus tracks from 13th June 1977 (these are poor quality (high gen) soundboard recordings from the Palais des Sports, Paris recordings that lead to 'Seconds Out'). Tracks are ind exed at the songs only, not the intros as well. This version sounds muffled, has a noticable hum throughout, and is pitched about a half tone sharp. Source 2: Thi s version comes from what is accredited as being a 2nd gen source, and has the same disc tracklist as above, but with Peter's stories seperately indexed. This version sounds better than source 1, but has quite a bit of hiss, although the highs are c lean. It is pitched about a quarter tone flat. Instead of either of these sourc es, I have chosen to remaster from a tape of this show, which is marked '3rd gen'. Whilst the actual generation of this tape is unconfirmed, two things are known. Firstly, it is the tape that was used to make the source 1 CDR version above, altho ugh listeing to it, you wouldn't guess it. By the owner's own admission, the transf er of his source tape to digital left a bit to be desired. Secondly, this '3rd gen' tape sounds much better than the Source 2 '2nd gen' CDR. Although the highs a re similarly clear, the hiss is less, and the mids show the tape to come from a low er gen source. There is much more detail and depth on the tape. Also the lows on th e tape are richer and fuller than on the CDR. Of the actual recording; the mast er tape appears to run from Watcher through to "To see reflected there..." in Firth of Fifth, thus one side of 90min tape. The second side seems to stop only 17 mins later, in the middle of The Musical Box. The last minute of this section of the rec ording has increasingly loud mechanical bumps indicating an ending tape side. Howev er this edit may also be a result of the copying, as the last tape side (which appe ars complete) runs for 46 mins until the end of the concert. Thus there are onl y two apparent edits in the recording, but both result in the omition of short sect ions of the concert. To fill these gaps I have edited in sections from the Detroit 16th April tape, from ten days later. There was a third edit at the conclusion to the introduction to Supper's Ready, but this came from a copying edit, and, whil st it was missing from my tape, I was able to include the missing section from CDR source 2. If you listen closely, you can hear the slight degredation in quality res ulting from using this source. The Restoration The primary problem with this recording, and the greatest challenge for me in restoring it, is immediately evide nt to anyone who knows this recording - microphone bumps!! The taper must have bee n hand holding his microphone, but it sounds as though he's eating his dinner off i t. There are low bass bumps all the way through the recording. On several occasions (at the beginning of the loud instrumental in Musical Box (5:55), and also during Suppers Ready (at 2:32)) he actually taps out rhythms on it!! And on a few occasio ns, just for good measure, the taper blows on the mic. Getting these bumps and scratches etc out, took over 500 edits. I've approached this not by cut editing, w hich would have removed sections of the music, but by using a denoising program. In what I call 'inverted' mode, with the 'audition noise' button in, DINR will remove sounds above a threshold, rather than below it, as normal with noise floor attenua tion. Thus in many cases I was able to set the music as the threshold, and remove t he bump at frequencies were it was louder than the music. This technique works rema rkably well, although sometimes you can hear a slight dropout, simply because there is no music left under a hefty bump. In other cases, where the music is louder and more complex, and the mic fumbling quieter, the bumps were not loud enough to isol ate and remove, so you'll hear a few of those moments still remaining. If you are l istening on a good stereo, you may also notice a few occasions during Peter's intro s where the noise floor goes a bit 'digitally' - these are probably the scars left after bouts of mic fumbling were removed. So having removed extraneous noises a nd bass rumble, the next task was to clean up the treble. This was achieved with on ly 6Db of broadband noise removal, which is quite modest, thanks to a clean source tape. The second significant issue with this recording is that the treble conta ins significant harmonic distortion. There are times when Phil's cymblals become a wall of hard, 'fizzy' treble, with little definition. I eventually settled on an eq ualisation curve which attenuated the worst of this, but as it was a 'quality not q uantity' issue, there was little I could do to totally remove it. The choice was ei ther correctly balanced treble with distortion evident in places, or muffled and st ill distorted. So if you find the top end a bit brash in places, sorry, but its on the source. Be reassured, the final mastering has smoothed some of this and rev ealed more definition. If you have a copy of source 2, it may seem that the treble is smoother, but this is an audio illusion created by the hiss which does have a sm ooth white noise texture. Remove it and the fizzy treble is revealed. Finally, this is a mono recording. I have used early reflections to open up the stereo stage a little. Memories Notes for HW04, Toledo Ohio, 6th April 1974, from Mike Sirofchuck, who attended th e concert the night after, at the Agora Ballroom, Columbus Ohio. On April 7, 197 4, my college roommate Doug Abbuhl and I, set off from the little town of Athens Oh io, and headed for the Agora Theatre in Columbus to see a band we'd read about in M elody Maker; Genesis. We really wanted to see them, yet we had never heard their m usic. Even though it was a 90 minute drive, we managed to arrive at the venue th ree hours before the show in order to be sure and get good seats. While we were wai ting outside the theater, a scraggly, heavily-medicated fan regaled us with descrip tions of Genesis's songs, that were in no way related to what we eventually heard t hat evening (or any other evening, for that matter). One thing was for sure though - this guy wanted to hear 'The Return of the Giant Hogweed'. Unfortunately, he was one tour too late. He may have been disappointed, but we were not. As we stood in the early spring Ohio chill outside the theater on High Street in downtown Colu mbus, five bundled figures approached us and asked in very un-Midwestern accents if the doors were open. One guy was tall and rangy and another was really short and had a most bizarre haircut; we chatted amiably with them about the cold for a coupl e of minutes while they tried to get in to do their sound check. Eventually they we nt around back to find a stage entrance. So now we had met the band in person, all that remained was to hear them! When the doors opened an hour before the show, there were four of us waiting to get in - being early had really paid off! We grabb ed seats at the first row of tables, about fifty feet from the stage; close enough for a great view and far enough back for great sound. Finally, the lights went down, the mellotron swelled with the opening strains of 'Watcher of the Skies', an d a caped figure with bat-winged head and fluorescent eyes appeared in black light. Four ghostly figures in white were seated at their instruments, totally unlike an y stage arrangement I had ever seen. The lights came up after 'Watcher' while Ph il reminded us that it was 8: 15 on a Sunday Night. Lots of tuning of guitars and mellotrons while Peter told the story to introduce 'Dancing With the Moonlit Knight '. He was fussing with his 'armor' which didn't seem to be fitting all that well a nd he looked a bit self-conscious as well. A concise rendering of the remainder of the show based on the existing poor recording of this Columbus concert, and even worse memory: Peter told a little story, they played 'The Cinema Show' and then went straight into 'I Know What I Like'. A story of water and then 'Firth of Fifth ', followed by the story of Henry which introduces 'The Musical Box' - this song re ceived the strongest ovation up to this point. Phil then stepped out from behind t he drums to sing 'More Fool Me' with Michael on guitar accompanying him. 'The Batt le of Epping Forest' was next, then Peter makes some cryptic remarks concerning 'to tally rehearsed episodes with Geoff', before relating the classic tale of old Micha el and the worms which is, of course, the intro to 'Suppers Ready'. On this evenin g, he and Phil sang the words to 'Jerusalem' rather than whistle the tune. I can't remember if there was an encore, but the crowd was so small that I suspect there w asn't. Never the less, Doug and I were newly converted Genesis freaks. I now k now the set list we heard that evening, but at the time EVERY SINGLE SONG WAS NEW T O US!! Can you even remember the first time you heard various Genesis songs? From the plaintive cry of 'Moonlit Knight' to the grand march of 'Apocalypse in 9/8' to Phil's rendition of 'More Fool Me', I was inescapably hooked as a Genesis fan. I r emember that we kept saying to each other "which song is the Musical Box?", as it w as the song most often mentioned in articles, and we were not disappointed when we finally heard it. But for me, the most memorable passage, the part of the show I have relived most often over the years, is the instrumental section from 'Cinema Show', when Peter and Steve left the stage and Mike, Phil, and Tony soared through that piece. I was listening to what I still believe is one of the greatest seven m inutes of prog every written. Writing this little essay, listening to that godaw ful Columbus tape and reliving that night, gives me great pleasure. I realize that I've said very little about the actual concert - it was a mostly impressionistic e xperience for me and my words are inadequate to describe it. The band probably mad e mistakes and played some songs a little differently than they did at other gigs, and perhaps Peter's stories had a few unique details - I suspect the 'Geoff' episod e is one. What I do know is that it was a superb show in every aspect - absurd, hu morous stories and masterful progressive music from one of the tightest live bands I've ever seen. Hard to believe that the crowd that night was only a hundred or so, and that in a few years, Genesis would be filling stadiums as they moved in a m ore 'pop' direction. I am looking forward to the Hogweed remaster of the Toledo, Ohio, April 6th show. I know you can never 'go home again' as Thomas Wolfe said, but I hope you can experience some of the pleasure I'll get from listening to this excellent recording from the 'Selling England By the Pound' tour. I suggest that y ou try to approach it with 'new' ears, as if you were hearing the music for the ver y first time. Oh, and we returned to Columbus in November to see 'The Lamb', but that's another story for a another time. Mike Sirofchuck, Kodiak, Alaska. 7 March 2002
Genesis - Music Hall, Boston, MA, Apr. 24, 1974, Hogweed #10
HW10 Music Hall, Boston. 24th April 1974 The Show This evening's performan ce in the middle of the 2nd American Selling England tour was frustrating and brill iant at the same time. The equipment problems that plagued this tour were particula rly bad this night, and at times you can hear Gabriel and Collins losing some of th eir usual tolerance in the face of continual microphone problems. Gabriel comments at one point that "we'll go professional next week", and Collins; "I bet you wish y ou'd gone to the pictures". The intro to 'I Know What I Like' is aborted at one poi nt. 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. ^M^MT here is also an interview with Mike and Phil, inlcuding the end of their performanc e 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 r emastered 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 DA T 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 re present 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 th e recording, and one of these may have omitted Phil's one-handed drum solo, which o ne is tempted to think they must have performed given the amount of technical diffi culties. This recording has been widely in circulation, most commonly through t he 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 thi s 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 sharpe n up the treble a little. Eq balance was pretty good, although I attenuated the low er midrange a little around 200Hz to compensate for a slight boxiness in the microp hone. I have made a few small crossfade edits at points where the tape was turn ed 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 th e 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 record ing, which may come from the cassete recorder, or even the seating at the venue. Th ese sounds were quite distracting, so I have removed them. There was a very noticab le one at the beginning of Tony's piano intro to Firth of Fifth, and others in the opening section of Musical Box.
Genesis - Academy of Music, NYC, May 4, 1974, Hogweed #7
HW07 Academy of Music, New York. 4th May 1974 The Concert This was the se cond last concert of the Selling England by the Pound tour. The band had been perfo rming 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 ex hilarating 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 rout ine given an amusing airing, but later in the concert, Phil leads an impromptu impr ovisation while covering for another running repair. And their equipment woes d idn't end with the gig. Phil comments at one point during the concert "even the une xpected happens tonight..." Little did he know. Later that evening all the band's g uitars were stolen, to be returned the next day after a little bribery, allowing th e performance of the 6th May to go ahead. On that last concert of the tour, Peter d escribes 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 t his concert may be regarded as one of the finest Selling England shows they perform ed, and it is a great fortune that we also have one of the best recordings of the t our to document it. The Recording This audience recording is absolutely supe rb. Clear open detailed sound, with good dynamics and very little hiss or distortio n. Given this quality of sound, the matter of it being a mono recording becomes irr elevent. The recording documents nearly the whole performance. However, there a re 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 Ep ping Forest. These would be sad losses from an otherwise great recording, if it was n'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 Cin ema Show, and finishing with Epping Forest and so missing Supper's Ready. However b y 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 record ing gives the complete show, to the extended applause and playing of Albinoni's Ada gio that conclude the concert. The best known version of this concert in circul ation is the Highland release: 'Voices in the Academy'. Recently, a CDR 'from VHS c opy of master reels' has been circulating. This new version is a huge upgrade on th e Highland version, and begins to show the quality of the original recording. Highl ands source by comparison is hissy, muddy and with a 'bubbly' texture (minor dropou ts). Recently I was sent a 1st generation tape from an American collector who h as had his tape for a long time. Many years ago he did a trade with a Canadian coll ector who insisted on a VHS dub of the tape. Comparing this 1st gen tape and the 'f rom 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 th e CDs. The Restoration This was a fairly straight forward recording to remas ter, 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. ^MI have chosen to denoise very slightly (-4Db) and also bring out the treble a lit tle more cleanly. If you compare with the 'from VHS' CDs, you will hear the extra b rightness 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 war m 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.
Genesis - Convention Hall, West Palm Beach, Florida, Jan. 10, 1975, Hogweed #5
HW05 Genesis Convention Hall, West Palm Beach, Florida, USA 10th January 1975 The Show The Florida Lamb shows are a source of some confusion for several reasons. Traditio nally it has been understood that Genesis's first two shows in the US to recommence the Lamb tour at the beginning of 1975 were at West Palm Beach on Jan 10th, follow ed by the Civic Centre, Lakeland on Jan 11th. However, Alan Hewitt has recently suggested, based upon his research, that they pla yed the 9th of January also, and that both the 9th and 10th were performed at the G usman Auditorium, University of Miami, Miami, Florida - a venue they were familiar with from the Selling England Tour. This information comes directly from a set of tour itineries given to Alan by David Lawrence, Genesis's Chief Lighting Engineer o n the Lamb Tour. I presume the West Palm Beach date comes from an official tour list, so in the lack of any corroborating evidence for either venue, it seems the jury is out on this o ne. To avoid confusion, I'm going to stick with the West Palm Beach date for no other r eason than that it makes the following confusion a bit more resolvable... There are two known soundboard tapes which are reputed to be of these Florida conce rts. Both are nearly complete, each missing sections around the 'Anyway-Colony of S lippermen' part of the concert, and the intro to 'Musical Box'. These missing secti ons correspond to the running out of the C90 cassette tapes that were used. Apparently Genesis recorded every night of their Lamb tour off the mixing desk in t his manner, with the exception of those evenings such as the Shrine Auditorium when a professional multi-channel recording was made. Most of these tapes have found th eir way to The Farm, Genesis's recording studios in the UK. Here they await catalog uing and possibly some of them may be released in the future officially, if the Gen esis Archive Club project proceeds. Meanwhile, the two Florida tapes have become well known and widely bootlegged. It r emains a mystery how these tapes became available at all, but the story I have hear d (from an experienced collector who was in contact with the person who owned these master tapes) is that they were obtained from Mike Rutherford at the time of the p erformances. It seems that he may have given them to, or inadvertently left them be hind with, a friend or colleague in Florida. The alternative I guess, is that someo ne copied them at the time (unlikely, as the masters don't seem to be amongst The F arm's collection), or just plain 'acquired' them. Whatever, they are wonderful examples of Genesis's Lamb show, certainly among the b est sounding that are currently available. There remains the question of which tape is which performance. The two tapes are ge nerally credited as being from the following dates, which is corroborated from audi ence recordings of both nights, and are recognised by; 10th January West Palm Beach: This master tape begins a few seconds into Tony's keyboard intro, and cuts out just before the guitar solo in 'Anyway'. Side 2 runs from the middle of Steve's solo in 'Slippermen', through to the applause after 'it!'. A 3rd side picks up about 2 min utes into 'The Musical Box'. Peter's intro before Lilywhite Lilith begins: "At this point in time our hero is ta ken by a blind lady named Lilywhite Lilith, into a large, round, dark, cave. And, t wo hovering balls, a few feet above the ground enter the cave and fill it with this very bright light and Rael becomes overcome with fear..." RoIOs include: 'The Lamb Descends on Waterbury' and 'Supper's Ready with a Little L ost Lamb'. 'Lamb Descends' has excellant quality sound, but uses extensive sections from the Providence, Rhode Island 74 audience recording to fill the gap in the mid dle of the show, and adds Lamb rehersal tracks from Headley Grange 1974. 'Lost Lamb ' has poorer sound, and adds 'Suppers Ready' from the Rainbow 73 radio broadcast. 11th January, Lakeland: Master tape begins similarly a few seconds into Tony's keyboard intro, but runs out earlier about 2/3 of the way through 'Waiting Room'. Side 2 picks up similarly dur ing Steve's solo in 'Slippermen', going through to audience applause after 'it!'. S ide 3 cuts in about 1 minute into 'The Musical Box'. Peter's intro before Lilywhite Lilith begins: "At this point, our hero... no, not i n... (pauses, someone in the audience calls out "Suppers Ready") No. Our hero is t aken by a blind lady by the name of Lilywhite Lilith, into a large round cave, (bas s pedal note from Mike), with a big, bass floor, and the floor of the cave is cover ed with wet rocks, and this little tunnel which lights up as two, golden, hovering globes, hover into the cave filling it with a big bright light. And our hero is ove rcome with fear..." RoIOs include: 'The Lamb Lives', 'From One Fan to All Others'. These two discs are identical, and which plagiarised the other I don't know. Both edit sections from th e Providence, Rhode Island audience tape to fill the omitted sections. Both these dates are confirmed by the existence of audience recordings. And by the way, the 'Rael Imperial Aerosol Kid' boot is not a soundboard recording (as I mista kenly thought for quite a while) but the Providence Rhode Island audience recording , minus the second encore 'Watcher'. The Sources I have remastered this recording from a known 1st generation tape, thus made direct ly from the master soundboard tapes. To fill the missing sections of the concert, I have chosen to use the audience reco rding of the actual concert rather than a better sounding recording from another ni ght, particularly one such as Rhode Island which dates from a month earlier and a d ifferent leg of the tour. Whilst this provides an authenticity to the final edit, t he sound quality of this audience recording is not the best. It has some pretty hea vy overload distortion throughout, especially in the bass, and is a fairly distant recording which lacks detail. On the up side; it is in stereo, and is nearly comple te, running out toward the end of the intro to 'The Musical Box'. I know my decision to use this recording may be not to the taste of all, but it jus t sounded right. I did try other sources, and none of them blended in as well as th e correct one, despite the poor audio quality. To be honest, all the audience tapes sound noticably poorer compared with the soundboard one, so which ever source I us ed you are going to hear a pronounced drop in fidelity. Also, the distortion proble ms prevalent throughout much of this recording didn't seem to be too abnoxious duri ng the sections required, especially Peter's intros. Also, to use another recording (and Rhode Island does stand out) would simply be to create another version of 'Lamb Descends on Waterbury'. With this remaster, you ca n hear the complete concert as it was originally performed. And besides, I hope to be remastering the Rhode Island tape seperately in the near future. The W Palm Beach audience recording is sourced from a low, but unknown, generation tape. Restoration This soundboard tape is in stereo, and is bright and clear, with good dynamics. Apa rt from doing a clean transcription, little needed to be done to it. I have taken c are to get the stereo phasing correct, as it wandered a little during the playing o f the tape (only noticable if you're playing this in mono). The treble is very clean but a little bright, giving a 'thin' sound, which is evide nt on the 'Lamb Descends' boot. I have balanced this a little, and boosted the sub- bass harmonics, giving Tony's pedals the required oomph! I have not denoised it, as the hiss levels seem to come primarily from the mixer. Y ou can hear how they vary throughout the performance. Where tapes were used during the performance (such as the bridge from 'Cage' into 'Grand Parade', and the end o f 'Slippermen') the hiss from these is quite noticable. There are also times when o nstage equipment buzzes are quite prominent as well. To try to denoise a recording like this would just not work. There is not a lot of stereo infomation. Most of the mix is near-mono, with Steve's guitar adding a few nice spacial moments (eg; Musical Box) or Tony's keyboards (Ra vine). I have not added reverb or any other enhancements, so what you hear is the c lean soundboard mix, complete with whatever effects were used on the night (and som e are very noticable, particularly on Gabriel's voice and Hackett's guitar). One puzzling feature of this tape is a strange high frequency noise during quiet se ctions such as Gabriel's intros. It sounds like a bird 'twittering'. I have no idea where this noise comes from, but may be interference from the mixing desk somehow. Anyway, I have carefully removed it because, whilst it may be 'authentic', it soun ds downright wierd and distracting. If you want to hear this noise in its original state, listen to 'Lamb Descends'. The audience tape was frequency balanced to blend in as best as possible with the s oundboard tape. I have used it as little as possible, chosing to edit in the middle of songs to exploit the most of the soundboard tape that exists. This means some v ery obvious edits. I reason that any edit between these two sources would be obviou s, so please use a little listening license :-)) I'm sure it pretty obvious, but the audience tape is heard at the very beginning as Gabriel introduces the show, during the missing Anyway-Slipperman section, and for Gabriel's intro to Musical Box. More subtely, I have also blended it into the appl ause and Gabriel's story interludes, so you can hear the audience's interaction, an d the reverb from the hall. The first 2 minutes of Musical Box is missing from both the soundboard and audience tapes. I have chosen to use the Rhode Island 74 tape to begin the song, blending t o the Lakeland soundboard after that first minute and a half, and then editing into the West Palm Beach tape when it picks up a minute or so later. There are two gaps in proceedings not represented on either recording; one at the e nd of the audience applause after 'it!' and before Peter begins introducing 'Musica l Box', and the other when the audience tape runs out before Musical Box begins. Bo th these missing sections give the impression of being quite short, possibly only 1 0 secs or so, and I have simply cross faded the existing tapes together. There is no recording of a second encore; 'Watcher of the Skies', if it was played during this concert.
Genesis - Manchester, England, Apr. 27, 1975, Hogweed #2
Sound Editor's Notes; The Show; This is a recording of the complete concert from the triumphant British leg of the Lamb tour. It is a beautifully clear and undistorted recording, which I have been a ble to remaster from the master tapes (many thanks to Colin Dodd for providing them ). As Colin points out in his essay, the concert began late, and the venue curfew m eant that only Musical Box was played as an encore. The music is immaculately played (as always), and the concert features an outstandi ng Waiting Room. By this stage in the tour they were stretching out a bit more on t his improvisation, and both the frightening first part and the driving build up are extended, and have many different elements not heard previously. Perhaps, knowing that they had done their BBC recording of the tour (at the 15th April London concer t), they felt freer to experiment a bit more in front of a very supportive home aud ience. Hackett seems to be refining his solos on Fly on a Windshield and Arrival. O ne moment of distraction; at the conclusion of Cuckoo Cocoon, Gabriel finishes his final flute phrase a bar early, and quickly repeats it. He then misses the first ly rics of 'In the Cage'. The British audiences were some of the most enthusiastic of the Lamb tour (rivalled only by the Italians, who sadly only got that one show at Torino). Not only did th e band extend their improvisations, but Gabriel responded with elaborating and humo urising his stories, to which the crowd respond energetically. There are some great interactions; I love his "...a huge roar on my right" at which a few members of th e crowd (presumably on his right :-) roar! There is another noteworthy moment in Counting Out Time; during this song (as for t he whole concert), slides were thrown onto 3 projection screens behind the band. So me images during this song show diagrams of female anatomy with arrows and numbers pointing out relevant parts. The audience can be heard laughing at these as Gabriel sings "...digesting every word the experts say" (about 36 secs into the track). Th ere is also some audible amazement during 'Arrival' as Gabriel appears as the Slipp erman. The source: This show has not been commercially bootlegged, and has only been circulating among traders either on CDRs from Colin's masters, or low generation tapes. Hence, altho ugh it is one of the better recordings and performances of the Lamb, it has not bee n widely known. Colin recorded the concert on 2 Maxell C120 Low noise cassettes. He captured the en tire concert, flipping the tape during the applause at the end of Chamber of 32 Doo rs, and again during the beginning of Arrival. I have edited some applause into the first flip, and taken a section from Colin's recording of the 28th to patch the in tro of Arrival (it is interesting how similar Hackett & Colin's 'improvisation' is one night to the other). I have then chosen to place the edit between CDs at the en d of Waiting Room - not only does this give 2 discs under 70 mins (preferable for d uplicating), but it allows me to include the full recording of the audience calling for a second encore at the conclusion of the concert. The restoration: Due to this recording coming from a low noise tape, the treble was a little muted. On the CDR of this show that has been in circulation, the tops are boosted consider ably, giving a rather hissy recording. So the challenge (as often the case) was to attenuate this hiss while keeping the treble detail. The result (I hope you'll agre e) is an open and clear recording with considerable top end detail. There are a few moments when lack of detail in the master leads to a graininess in the treble. Sor ry, but there just wasn't much there, and to smooth it off would remove what subtle ty was to be heard in Phil's drumming. I've chosen to preserve as much as I could o f the music, at the expense of 'textbook' audio. The bass end of this recording is lovely and rich, showing Rutherford's bass and pe dal work. If you're a Rutherford fan, this is the lamb show for you. If anything I have had to soften the bass off a little, but otherwise the equalisation balance on the master was very natural. The recording was made on a machine with automatic record levels, so I have manuall y restored the true volume dynamics. For instance; if you have the original version of this, you'll notice that Tony's solo keyboard intro at the beginning of the con cert gets louder, until Peter's "And the Lamb..." and Phil's first drum splash knoc ks the levels down again. I have reconstructed these levels to sound more natural, and the rest of the band now come in powerfully as they should do. Fortunately the response of the auto record was quite long, 10-15 secs before responding to a quiet er section in the music, so the short-time dynamics, the 'punch' of the recording, are not affected. Lastly, the tape was in mono. I have added subtle early reflections to add depth an d space to the final sound. If you're listening on headphones, you may notice the e ffect, but the stereo field is still predominantly centralised. Memories of the show, by Colin Dodd. When Genesis arrived in Manchester for two nights at the Palace Theatre time had ne arly run out for the classic Banks, Collins, Gabriel, Hackett and Rutherford line-u p. At the time, of course, we had no idea that Peter Gabriel had already decided to leave the band and that once the few remaining dates of the tour had been honoured he would no longer be a member of Genesis. To us in the UK this was a long overdue chance to see Genesis playing on home soil again. The many who had scrambled to get tickets for the original British dates had been frustrated to see the tour cancelled when Steve Hackett severed a tendon in h is hand. To rub salt into the wound tickets had to be returned to the venue for a r efund and then re-issued for the new dates a couple of months later. Actually, whi le this may have been an inconvenience for most it was a blessing in disguise for u s as our original seats, obtained by postal application to the theatre, had been at the back of the top balcony. However, with the band more popular than ever, there were only two ways of ensuring better seats: paying a hugely inflated price to a to ut or all-night queuing. To a bunch of school kids, not exactly overburdened with t he folding stuff, the first wasn't an option, so we took the cheaper, if slightly m ore uncomfortable option, of spending a long, sleepless night sitting on a freezing pavement outside the theatre. Or rather I did as the rest of our crew all cried of f at the last minute with various implausible excuses. Actually, despite it being o ne of the coldest nights of the year, it was a pretty enjoyable night. Anyone who h as ever done this will know of that certain camaraderie that develops among the mem bers of the queue, probably because everyone there is indeed as sad and hopelessly obsessed as each other. Despite a late scare when a large contingent of late-comers arrived at dawn and tri ed to jump the queue I eventually emerged victorious from the box office clutching four tickets for each of the two shows. Bleary-eyed I caught the train back home wi th a smile on my face. Everything was indeed wonderful with the world, except maybe for the fact that I still had to convince school that I really had been so ill on the Monday morning that I had been unable to phone in sick. On the night of the gig we arrived in Manchester in good time. A few pints has alwa ys been a part of the pre-gig ritual and we duly settled down in the pub just acros s Oxford Road from the theatre and waited for the doors to open. From the outside the Palace doesn't promise much, with its plain tile covered walls. Those who have Gentle Giant's live 'Playing the Fool' album will be familiar with its exterior as it appears twice on the sleeve. Quite why I have never understood as the Giant neve r played there, always preferring the Free Trade Hall on their visits to Manchester . Inside, however, is a different story. The Palace is a classic British Victorian theatre, all dark polished mahogany and red velvet seats. A lovely venue, but one t hat has fallen out of favour for rock gigs these days, visiting bands seemingly pre ferring the much inferior Apollo. At seven thirty the doors were opened. We finished our pints and headed across the road to the theatre. I had decided to record both nights, so the first problem was getting the recorder past the security on the door. Anyone who was around at that t ime will remember that the Army and RAF greatcoats were an essential part of the dr ess code, indeed one was de rigueur for the weekend hippie about town. Thankfully y ou could have hidden a small recording studio under their generous cut, so a small cassette recorder proved no problem. I wish that I could remember which model it wa s for those who care about such things; all I can remember is that it was a Philips machine and it's model number began with a N. It had automatic record level and a built in mic, which might sound horrific now, but in those early days of recording gigs had some distinct advantages. I had previously tried taping on a couple of occ asions with my previous machine, another Philips with manual recording level. Sadly both attempts, Genesis in Manchester on the Selling England tour and Camel a coupl e of months later, had been total disasters. Although the machine had a crude VU me ter it had not occurred to me that it would be wildly inaccurate and next to imposs ible to see in the darkness of the theatre. After listening to the results, which a mounted to little more than several hours of distortion, I plumped for an auto reco rd level machine for future taping. Actually considering that it was a very basic m achine by modern standards I got some fairly good results from it. It served me wel l until just after the Earls Court gigs two years later and then went the way of al l things. After negotiating security next stop was the merchandise stall. Some nice t-shirts featuring an impressive Genesis logo made up from various animals and birds, some p retty crappy t-shirts featuring another somewhat less inspired design and programme s. The badges featuring the animal and bird logo had apparently all been sold by th e time the tour reached Manchester, lucky that a friend picked up one for me at Liv erpool. So we settled down, loaded the recorder with a Philips C-120 (more about them in th e notes on the following night) and waited. And waited. And waited. Another endurin g memory from gigs in those days was the number of times that the start was delayed due to 'technical problems'. In the spirit of the times we amused ourselves by joi ning in the 'Wally' chorus. A word of explanation here for those not versed in the ways of UK gigs in the Seventies. This was another part of the pre-gig ritual, afte r the beer, the merchandise and maybe a puff or two of weed. Simply some wag yelled 'Wally' as loud as they could and waited a few seconds to hear a chorus of several hundred other calling 'Wally' in reply. More join in and eventually a good part of the audience is yelling 'Wally' at each other. This was then repeated ad nauseum u ntil everyone was completely bored with it all, which in my experience used to take several hours. Need they look any further for proof of the detrimental effects of drug and alcohol abuse? But as soon as the lights go down any delays were forgotten. Manchester audiences h ave always been one of the noisiest, liveliest and most vociferous in Britain and t onight they were clearly up for it. A single spotlight picked out Tony Banks as he played the piano introduction, slides of the New York skyline came into focus on t he three large screens at the back of the stage, the rest of the band kicked in and we were away. Immediately the changes from the last tour were obvious. Peter, dres sed in jeans, tee shirt and leather jacket, prowled the stage, spitting out the wor ds and gesturing at the front rows. Gone was the slightly mysterious figure of prev ious tours as he assumed the persona of Rael for the next couple of hours. Gone too were the continuous costume changes, which for me at least was good news. I may be alone in this but I always had mixed feelings about the costumes. I didn't mind th e Fox Head when it was introduced, despite it being a somewhat cynical attempt at a ttracting publicity. It had great shock value, because at the time no one expected it. On the Autumn 72 tour supporting Lindisfarne it was amusing to watch the puzzle d faces as Peter, already striking enough with shaved forehead, make-up and an elab orate necklace, left the stage only to return in a red dress and fox head. But by t he time of the Selling England tour it had, to me at least, got a bit out of hand, as one costume change followed another and the visuals began to take over from the music, at least in the eyes of the media. The surprise and the shock value had gone . Instead tonight we were seeing a different kind of visual presentation as the story is echoed by ever changing slides on the backdrop screens. They had used back proj ections on the Selling England tour, but this time they were much more fully realis ed and tied in with the music, whereas previously they had been largely unrelated i mages. It's easy to forget how groundbreaking this was at the time; slides and proj ections had been used before of course, primarily by a lot of the psychedelic bands some seven or eight years earlier. However, no one had really developed the idea b eyond flashing the odd slide onto a backdrop or the oil wheels beloved of early Flo yd and Jefferson Airplane. Other than the change to a white body stocking for "The Lamia' the only costume in the show was the somewhat controversial Slipperman. Cont roversial of course because the rest of the band have subsequently claimed that Pet er's vocals were impaired by it, but for shock value it was well worth it. There we re a number of noticeable gasps from the audience as Peter emerged through a plasti c tunnel and it was all the more effective for being the one costume change in the show. Although probably not my favourite tour from the Gabriel era, there is no doubt the Lamb represents the pinnacle of the band's achievements in terms of stage presenta tion. And there is no doubt who was the star of the show. In hindsight it's easy to see how the resentment from the other members of the band grew at this time. The h ardcore fans understood the extent of their contributions, but on stage there was o nly one place that the audience's attention was focussed. If Peter had a slightly b igger influence over the direction and writing of the album than Tony, Mike, Phil o r Steve might have wanted, it was on stage that he really took over. Peter has gone on record as saying that he felt he had assumed as much control of the band as he thought he could get away with by this point, and it was not hard to see exactly wh at he meant. It's hard to try to pick out musical highlights, the Lamb has always existed as one piece of music for me, rather than a lot of individual tracks, but special mention must go to 'The Waiting Room', which built and improved on the studio version. Gen esis live were always very structured with little room for improvisation but here t hey let go just a little. In fact the overall impression on the night was that the whole piece sounded stronger and more powerful on stage, but then by their own admi ssion Genesis always did struggle to recreate their live impact in the studio. All too soon the band were concluding the set, launching into 'it', the final number. T he old International Times logo flashed onto the screens and among the strobe light s we could just make out two Peter Gabriels, one on either side of the stage. The d ummy Peter was an inspired idea bearing in mind the conclusion of the Lamb story, e ven if the roadies did occasionally pull practical jokes by standing in for him. The conclusion of the set brought the crowd to their feet, baying for more and the band eventually returned to great cheers as Peter begun his long introduction to 'T he Musical Box'. After a whole set of new material everyone was keen to hear a few of the old classics and they finished the number to riotous applause and left the stage for a second time. Those of us who had read the reports from the US and Europ ean gigs in NME, Melody Maker and Sounds knew that we still had 'Watcher of the Ski es' to look forward to, but after five minutes of deafening applause and calls for more some doubt began to creep in. Eventually we were told that due to the late sta rt the show had run over the eleven o'clock curfew and there could be no more. No o ne was impressed by this piece of archaic legislation, still in force as far as I a m aware, which rules that live music must cease by 11pm on a Sunday. As it was we h ung on until it was obvious that it really was all over, raving about what we have seen, cursing whoever it was that introduced Sunday cut-offs, but happy in the know ledge that we would be back again to see it all again tomorrow. And the recording? Well if you are reading this there is a good chance that you alr eady have, or are soon to get, a copy of the Hogweeds version of this show. I'm qui te pleased with the way the tape came out. The acoustics in the Palace were always good and there isn't too much of the theatre's ambience in evidence. Overall it was one of the better recordings I did with that machine and the tapes seem to have st ood up to the time of time pretty well. Enjoy!
Genesis - Palace Theatre, Manchester, UK, Apr. 28, 1975, Hogweed #8
HW08 Palace Theatre, Manchester, 28th April 1975 This is the second of the two nights Genesis played at Manchester on the latter par t of the UK Lamb tour, and also comes from Colin Dodd's tapes of the evening's perf ormance. There is not really a lot to say about this remaster that I haven't said in my note s for HW02; the 1st of the Manchester concerts. The performance as ever was exempla ry, with an awesome extended Waiting Room (Peter adding vocals), and the second enc ore with Watcher of the Skies. The master tapes of this evening are, if anything, slightly brighter than those of the 27th, which may be just an example of how tapes degrade inconsistently over tim e rather than anything in the original recording itself. The tapes (two Phillips C1 20s) were flipped during the applause after Chamber of 32 Doors, and when the first tape runs out about a minute into 'it!'. I have patched the applause in the first flip, but as Colin mentions in his comments, the second flip caused more of a probl em... The tape speed wobbles that are present on the second tape are quite extreme to beg in with, 'it!' is pretty unlistenable. 'The Musical Box' also has this regular lift in pitch, from the tape slowing, 'grabbing', during recording, although as the tap e progresses the problem eases. On Colin's original transcription of his tape, whic h has been circulating on CDR, he only replaces 'it!', so you can hear the problems that remain on 'Musical Box'. I have chosen to totally replace both 'it!' and 'Musical Box' for this remaster. Du ring the audience interactions between songs, these speed wobbles are not apparent. So I have retained the audience sections; the applause after 'it!' and Peter's int ro to Musical Box, and the applause between MB and 'Watcher'. You can still hear th e pitch instabilities slightly during Watcher, but of course, it is a feature of th is evenings concert, being the encore that was missed the previous night. As with HW02, I have made a new transcription of Colin's master tapes, optimising f or mono. I have then denoised the recording and lifted the treble out a bit more. T he bass was nice and strong, and there was no need for eq balancing. Early reflecti ons were added to the final audio to open up the mono soundstage a little. As with the 1st Manchester recording, I have had to place the disc side edit betwee n Waiting Room and Anyway, to give 2 discs of roughly equal length. This annoys the hell out of at least one friend of mine, who likes to hear the whole of the 3rd & 4th parts of the Lamb uninterrupted. All I can say in my defence is that I agree on aesthetic grounds, but considering that audio versions of these discs will be weed ed on from one person to another, having 80 min discs is inviting copy errors. Also , with this recording featuring 'Watcher', it would have overshot the 80min mark an yway. The artwork for this release comes from Kryzsztoph Welian once again, who designed the cover to companion the earlier Manchester recording. Spot the differences :-)) Genesis Palace Theatre, Manchester, 28 April 1975 Notes by Colin Dodd Take a little trip back. Not in this instance with Father Tieresius, but instead with Father Time. Back to late August of 1975, Thursday 21 August to be exact, the day the news broke of Peter Gabriel's departure from Genesis. I can recall the date so precisely as it was the day before the start of that year's Reading Festival and a friend and I were finishing getting our things together before setting out on the j ourney South. Before catching the train we dropped in at the newsagents to pick up the music papers, which came out each Thursday. The day had been going pretty well so far as we looked forward to three days of sex (unlikely), drugs (possibly) and r ock and roll (definitely). It was about to take a turn for the worse. Staring up from the front page of the Melody Maker was the headline we had been dreading: 'Ge nesis Seek New Singer'. So the rumours had been true. The MM had carried a front-pa ge story some months before fueling speculation that Peter had quit the band follow ing the completion of the Lamb tour. It was denied of course but even though we kne w nothing of the tensions within the band at the time there was a feeling that ther e might be more to this than their management were admitting. Throughout the wee kend there was a lot of talk of the split and much debate on the future of the band without Peter. We were all still young and naive enough to believe that all bands were created in the image of the Beatles in Hard Days Night. They all lived togethe r, were the best of mates and liked nothing more than making music together. Everyb ody loved them; they got filthy rich and lived happily ever after. Well maybe we we ren't quite that naive but it was still a mystery why anyone would want to leave th e band at this stage of their career when they seemed on the verge of achieving the success they had worked so hard for. So in hindsight this second of their two n ights in Manchester would be the final time we would see the classic line-up togeth er. For that reason alone there is a certain poignancy attached to this show: this was the end of an era for the band and for me at least Genesis would never be quite so special again. They would still make some fine music together, but with Peter out of the band the pioneering spirit went with him and the slow but sure shift tow ards the mainstream began. Again we had decided to record the show so the first task of the night was to negotiate the security on the door. A quick check at the m erchandise stall and we took our seats and readied the recorder. Thankfully tonigh t there were no technical problems and the show started on time. Comparing the two nights at the Palace from a musical perspective would be nigh on impossible. Things were extremely well-drilled by this stage of the tour and despite the band's claim s that only a handful of shows went without a hitch everything seemed fine from the audience. I don't even recall Peter forgetting his lines at this one. The added bonus was that this time we did get the second encore of 'Watcher of the Skies' . The previous night's late start had meant that the show overran the Sunday night curfew time and the band had only been allowed to play a single encore. 'Watcher' w as always one of their most dramatic live songs and this was possibly the finest ve rsion I remember seeing them do. A perfect meeting of the music and theatrics that conjured up an atmosphere that no recording could ever hope to capture. A truly maj estic performance and a suitable memory of the final time we would see this line-up together. Sadly the recording didnt run quite as smoothly as the gig. Calculati ng the time remaining on cassette tapes was always an inexact science and unfortuna tely the tape ran out a couple of minutes before the end of 'it!' If that wasn't ba d enough I then fell foul of the curse of the Philips C-120. Anyone who was taping shows at the time will remember these. On the face of it they were ideal for the jo b, giving a full hour between tape flips. However, the motor used in the average ca ssette recorder just wasn't up to pulling that amount of tape with any degree of ac curacy. You only needed to get a tape that was a little tight and you were in trou ble. The result was that the first twenty minutes or so of the new tape suffered fr om speed fluctuations, the remainder of 'it!' and most of 'The Musical Box' being r endered unusable. For this remaster Andrew has decided to replace both these tracks with the versions from my recording of the previous night. Thankfully by 'Watcher' the tape was running okay again. Overall, these problems aside, I'm pretty happ y with the results. The recorder was fairly basic by modern standards but did a dec ent enough job in capturing what was happening on stage.
Genesis - Hippodrome, Birmingham, England, May 1, 1975, Hogweed #11
HW11 Hippodrome, Birmingham, England. 1st May 1975 This was the first of two evenings that Genesis played their Lamb show at the Hippodrome. The second night's gig has been widely known since from an excellent audience recording, originally in circulation as the TAKRL double vinyl boot 'Swelled and Spent', and variously reis sued on CD, culminating recently in the FAde project's debut release, FAde01. Shortly after I established the Hogweeds project I was contacted by a member offerin g a previously untraded tape of this 2nd May show. Upon receiving a copy of this ne w recording, I was delighted to conclude that this was not only a new recording, bu t that it was of a previously unknown show. I attempted first to confirm with t he taper the date of the recording, but was told that he had attended several Lamb shows in the UK, and whilst he held a ticket stub from the 2nd May performance, he could not say for sure that the recording originated from that performance. He was not too confident about his memory :-) Comparing this recording with others, a f ew things stand out. Firstly it includes a performance of The Knife, indicating it was one of the last shows of the UK tour, as previously they had played 'Watcher' a s the second encore. For instance there is a recording of the Bristol show on the 3 0th, and 'Watcher' was played there. Secondly, Peter's 2nd Rael story is very s imilar to the Bristol show, and also to the 2nd May Birmingham performance. As mentioned in the notes for FAde's release, the 2nd May recording has always been at tributed to that date, but there is no conclusive proof that this is the case. It m ay also be the 1st May show. Equally, it is only the taper's memory that this new r ecording was made on the second night, and could equally be the first. I did send a copy to someone who attended the 1st May show, and they concured that at the very least it was certainly a Birmingham date. In the absence of any indication eith er way, I am concluding that this new recording is the performance of the 1st May, and thus avoiding all the confusions that would ensue from trying to argue for a re -accrediting of the more well-known recording. But in all possibilty, either record ing could be either night. Having established this recording's authenticity, I requested permission to remaster and release it, which the taper granted. Subsequen tly I received the master tapes, and it is from them I have made this remaster. I s hould also mention that the original CDR transcription that I recieved has recently found its way into a few people's hands, however it does have a few problems on it , which have been corrected on this version. The tape itself is quite good mono , I think most traders would grade it as a B, and more towards a B+ than B-. It is a little muffled and lacking detail, but on the plus side, has little distortion or tape saturation, and documents nearly the complete show. Beginning with a new transcription from the masters (pitched correctly - I think the original transcript ion was a bit fast), I have then carefully denoised the recording. As usually with my approach to denoising, you will still hear tape hiss, but the treble is much bri ghter and sharper than on the original tape, while the hiss levels should be notabl y attenuated. The eq balance was fairly OK, although as is usual with a lot of old amateur recordings, the lower mid-range was a bit boxy, and so I've softened it off a little. One major problem with this recording was microphone bumps. The mic was hand held, or at least in a position where it could easily be tapped. And it wa s, frequently. I have gone through this recording and removed each bump, one by one . There are a few that are still present, because it was too difficult to isolate t hem from louder sections of the music. But most of them were in quiet sections, qui te a few being taps in time with the music. Someone was enjoying the gig :-) One other problem I haven't been able to do anything about is pitch drops during Chamb er of 32 Doors and Lilywhite Lilith. These seem to occur at the same physical secti ons of the tape on the A & B sides, and I'm guessing that maybe the tape has been s tretched in these places. By contrast, battery or voltage instabilities, or the tap e grabbing, would cause pitch surges. The recording documents nearly the comple te show. There is a tape flip at the beginning of 'Carpet Crawlers', and the first few seconds is missing there. But the tape runs out about a minute into 'Lamia', an d only picks up again at the beginning of 'Silent Sorrow'. In both these instances, I have patched the show using excerpts from the Colston Hall, Bristol, tape of the 30th April. This recording has a similar B+ sound quality to this tape, and blends in reasonably well, although you'll notice the join on 'Lamia' if not 'Carpet Craw lers'. Finally, and you'll hear this yourself - this is a cracker show. Enjoy :- Birmingham Hippodrome 1st May 1975 Hot on the heels of the previous two nights performances at the Colston Hall, Bristol, it was a trip north to Birmingham for t he last two dates of the UK leg of the European tour. The cosy confines of the 2,0 00 plus seat Colston Hall was an ideal environment for the sophisticated visuals of the Lamb production, and the Birmingham Hippodrome offered a similar ideal size ve nue tailor-made for all to witness perhaps the most ambitious rock theatre to hit t he road thus far. The band without doubt were hitting peaks with an assured stre ngth of purpose in their playing with over 90 Lamb performances behind them at this time. The closing dates of the UK tour saw the band high on confidence and giving their best musically. I can't emphasize enough what a joy it was to fully take i n the nuances of the three screen visual production with its hundreds of myriad ima ges flashing sometimes across all three, the occasional animation, all gloriously o n view for everyone to be drawn into and fall under the spell. The opening wide-scr een Manhattan dawn skyline with Tony's piano commencing the show sent shivers down the spine in anticipation of what was to come. Those of us fortunate enough to catc h earlier shows on the tour knew what to expect and it was now time to fully take i n the combined musical/visual production and relive once more the Rael saga. Cuckoo Cocoon with PG lying in front of Tony's keyboards playing flute; the swagger and d ynamism of Back in NYC, including the exploding hurled Molotov; the first real gasp s of the audience with the swirling Lamia guise. Highlight musically was the radica l Waiting Room with the piece taking a slightly different direction each playing. T his evening's version was a gem. To add to the drama of the piece PG would appear s ilhouetted on the centre screen dancing grotesquely with what appeared enormous fin gers almost embracing the entire stage. Stunning! Over two hours had quickly pa st before we are treated to the old favourites Musical Box and The Knife. Another g reat Lamb show and best of all, another show to look forward to the following night Andy Wilkinson September 2002
Lowell George - Alexander's, Browns Mill, NJ, Jun. 26, 1979, FM
Lowell George June 26, 1979 Alexander's, Browns Mill, New Jersey -FM & audience sources. Received in a trade. Not sure if this has made an appearance on dime in the past, or if this is where my trading partner got it from. It is very enjoyable and made up mostly of the FM source. Disc #1-7 tracks-41:55 Disc #2-5 tracks-41:24 Found these comments on the web regarding this show: "Lowell passed away on 6/29/79. Various cuts/splices are present, but the best possi ble job has been done to bring the audience and FM sources together to make a comple te show. The bootleg "Walk Together, Darling" is from this show. " Disc 1: 1. introduction/Fat Man In The Bathtub 2. Honest Man (brief static/warble at around 4:10) 3. What Do You Want The Girl To Do 4. Can't t Stand The Rain 5. Easy Money (audience source splice at 4:58 or so) 6. Rocket In My Pocket 7. Apolitical Blues Disc 2: 1. Two Trains/ 2. Dixie Chicken (fm source splice at :45 or so) 3. -audience applause Encore: 4. Willin' 5. Spanish Moon (audience source splice at 7:48 or so)
Lowell George Tribute
"Willin'" - Lowell George tribute this set is dedicated to a fat man in the cascket and those who remember him even now on the anniversay of his death. if he were alive still, we could celebrate his 61st birthday this year........R.I.P. Lowell. Track#. [MM/DD/YYYY] artist: 01. [04/20/1970] The Byrds 02. [02/18/1975] Commander Cody 03. [07/14/1976] Linda Ronstadt 04. [04/11/1987] Max Creek 05. [??/??/1999] Bob Dylan (the date is not confirmed) 06. [12/03/1993] Uncle Tupelo 07. [12/15/1996] Black Crows w/ Warren Haynes 08. [11/28/1997] Steve Kimock & Friends 09. [03/12/1998] Fat Cats 10. [02/17/1999] moe. 11. [02/??/2001] Rock And Roll Doctors 12. [12/27/2001] Mr. Blotto 13. [11/07/2003] Dexter Grove 14. [02/04/2004] The Bridge 15. [02/13/2004] gypsy can co. 16. [04/08/2004] The Radiators 17. [08/28/2004] David Gans 18. [03/02/2005] Tea Leaf Green total running time: 79m57s Notes: Most of these tracks are normalized and fading in/out edited in order to pack them into a single 700MB CD-R.
Geraldine Fibbers - Foothill, Long Beach, CA, Dec. 12, 1997, SBD (2 discs)
the geraldine fibbers december12 1997, The Foothill, Long Beach, CA, SBD 2 cd, Show followed by soundcheck (track 3 and on d2) 114 min Personnel not guaranteed(cept nels and carla!), this is who played on the album they are touring. Carla Bozulich - Singing; Electric & Acoustic Guitar; Sampling; Electric Bass; Organwife; Piano Strings; Gloc kenspiel; Music Box; & Submarine Loops Nels Cline - Electric, Slide, Electric 12 Sting, Lap Steel & Baritone Guitars; Coda Psychosis; Organ; & Backw ards Caliope Bill Tutton - Electric & Acoustic Bass; Cello; & Piano Kevin Fitzgerald - Drums; Singing; Glockenspiel; & Percussion Jessy Greene - Violin; Singing; & Viola
Stan Getz - Jam Session at the Woodhouse, Stockholm, Sep. 5, 1955
STAN GETZ 5 SEPT 1955 JAM SESSION AT THE WOODHOUSE, STOCKHOLM Stan Getz (ts); Gosta Nilsson (tp); Andreas Skjold (tb); Ivar Wefring (p); Gunnar Jo hnson (b); Kenneth Fagerlund (dm) on "Perdido" and "Exactly Like You", substitute Gosta Bredberg (p); Gutten Willig (b ); Arne Wilefors (d). On "All of Me", add Sonya Hedenbratt (vcl) 1 Exactly Like You 5:42 2 Perdido 3:33 3 Strike Up the Band 7:03 4 I Only Have Eyes For You 8:02 5 All of Me 4:29
Giant Sand - KCRW Studios, Santa Monica, CA, Jul. 1, 1994, FM
Ditch Croaker (tracks 1 > 12) KCRW Studios Brave New World Santa Monica,Ca March 24, 1995 source: fm taper : markp sorry no setlist Giant Sand (tracks 13 > 19) KCRW Studios Morning Becomes Eclectic Santa Monica,Ca July 1, 1994 (this is the correct date) source: fm taper : markp 13 intro / interview 14 World Stands Still / I Wish You Love 15 interview 16 Lester Lampshade 17 Get To Leave / Left / I'm So Lonesome I Could Cry 18 interview 19 Instrumental > outro
Gilberto Gil - Carousel Ballroom, London, 1990, FM
This is from an FM broadcast of Brazilian MPB superstar Gilberto's Gil and his band at the Carousel Ballroom in London, England. The recording date is unknown, but I think it's somewhere around 1990. This aired on Afropop Worldwide on NPR. fm > cassette> CD Spin Doctor > Audacity > FLAC 1 Palco (Gilberto Gil) 2 Brasileirinho (Pereira da Costa, Waldir Azevedo) 3 De Bob Dylan Bob Marley (Gilberto Gil) 4 Aquele abrao (Gilberto Gil) 5 Requiem para me menininha do gantois (Gilberto Gil) 6 No chore mais (B. Vincent, verso: Gilberto Gil) 7 Nos Barracos da cidade (Liminha, Gilberto Gil) 8 Baticum (Gilberto Gil, Chico Buarque) 9 O eterno deus mu dana (Celso Fonseca, Gilberto Gil) Ary Dias: percussion Celso Fonseca: guitar Didi Gomes: bass Jorge Gomes: drums Raul Mascarenhas: sax William Magalhes: keyboards Artwork included
Gilberto Gil Acoustic Group - Estival Jazz, Lugano, Switzerland, Jul. 1, 1995, SBD
A SwissBird , superMAX & SimplexSimplicissimus release : Gilberto Gil Acoustic Group Estival Jazz Piazza Della Riforma Lugano, Switzerland 1. July 1995 Excellent Sound Quality ! Soundboard > 1st copy > eac > wave > flac frontend (align on sector boundaries Level 8) > torrent on http://bt.easytree.org > reseed on www.dimeadozen.org Size : 390 MB 1. Saudade De Bahia (3:39) 2. A Novitade (5:02) 3. Refazenda (3:40) 4. Realce (4:14) 5. Parabolicamara (4:59) 6. Diablinho Maluco (4:25) 7. Tempo Rei (4:47) 8. Expresso 2222 (5:46) 9. Chiclete Com Banana (3:06) 10. Aquele Abraco (4:06) 11. Palco (5:16) 12. Toda Meminha Baiana (6:12) Encore : 13. Sampa (3:47) 14. Madalena (5:08) Gilberto Gil - vocals Celso Fonseca - guitar Lucas Santana - flute Arthur Maia - double bass Edu Szajnbrum - percussion Jorge Gomes - drums
Eliza Gilkyson and Robert McEntree - In the Woods, Netherlands, May 30, 2006, SBD
Eliza Gilkyson and Robert McEntree In the Woods may 30 2006 Lage Vuursche - the Furs The Netherlands Eliza: vocals, acoustic guitar Robert: electric guitar, vocals recorded and mixed by songhunter editing by Andre equipment microphones vocals: Eliza - Shure SM87 beta / Robert - Sennheiser E845 microphone guitar Eliza - oktava MK-102 (only for recording) microphone guitar Robert - Studio Projects B1 in cabinet system (only for recording) (5 inch from small tube amp) 4 lines in (direct) to and 2 lines out from Bose personalized amplification system (v ocals / guitar) the four canals direct mixed to two tracks DAT (small venue -- sold out: audience 130 people, all seated) setlist CD1 1. borderline 2. paradise hotel 3. not lonely 4. beauty way 5. separated 6. dark side of town 7. tender mercies 8. man of god CD 2 1. welcome back 2. fall into the night 3. highway nine 4. hard times in babylon 5. coast 6. twisted 7. heart of a man 8. jedidiah 1777 9. think about you 10. requiem 11. calm before the storm 12. take of your old coat 13. the ballad of yvonne johnson 14. bare necessities all tracks written by Eliza Gilkyson and published by Gilkysongs/BMI except: - paradise hotel (chorus written by Gary Brooker and Keith Reid) - beauty way (Eliza Gilkyson and Mark Andes) - dark side of town (Eliza Gilkyson and Nancy Gilkyson) - take of your old coat (Terry Gilkyson, Richard Dehr and Sam Eskin) - the ballad of yvonne johnson (cowritten by Yvonne Johnson) - bare necessities (Terry Gilkyson)
Dizzy Gillespie - "The Giants of Jazz," Paris, Oct. 27, 1972, FM
The Giants of Jazz October 27, 1972 Paris, France Radio, A- Dizzy Gillespie- [Trumpet], Kai Winding- [Trombone], Sonny Stitt- [Tenor Sax], Thelonious Monk- [Piano], Al McKibbon- [Bass], Art Blakey- [Drums] 01. A Night in Tunisia 8:07, 02. Lover Man 5:14, 03. Don't Blame Me 4:25, 04. I Can't Get Started 4:55, 05. Dexterity 6:03, 06. Blue 'n Boogie 16:23, 07. Wee 9:40, 08. Epistrophy 13:18, 09. 'Round Midnight 7:01 Time 75:13
Jimmie Dale Gilmore
Jimmie Dale Gilmore & Butch Hancock - Sons of Herman Hall, Austin, TX, Dec. 18, 1987, SBD
JIMMIE DALE GILMORE & BUTCH HANCOCK - The Sons Of Hermann Hall. December 18th 1987 THE SONS OF HERMANN HALL, December 18, 1987 Soundboard Recording (No Details) Retracked, Disc Transitions (Soundforge 8) and Artwork by JTT. Disc One: First Set 01.Intro. 02.HELLO STRANGER 03.SEE THE WAY 04.ONE ROAD MORE 05.BALLAD OF LEO AND LEONA 06.WHEELS OF FORTUNE 07.IF YOU WERE A BLUEBIRD 08.DON'T LOOK FOR A HEARTACHE 09.FIREWATER (SEEKS IT'S OWN LEVEL) 10.UP TO YOU 11.YOU NEVER COMPROMISE 12.NOTHING OF THE KIND 13.I'M GOING BACK 14.SHE'S A CHUG HOLE 15.DALLAS 16.ALREADY GONE 17.GO TO SLEEP ALONE Disc Two: Second Set 01.Intro. 02.RED CHEVROLET 03.BLACK SNAKE MOAN 04.HER LOVER OF THE HOUR 05.DEFYING GRAVITY 06.BABY BE MINE 07.RAMBLIN' MAN 08.BALLAD OF SPLIT AND SLIDE 09.THE SONG YOU MIGHT NEVER HEAR 10.DEEP ELAM BLUES 11.TWO ROADS 12.MOBILE LINE 13.SOMETIMES WE CATCH ON KIND OF SLOW 14.ROW OF DOMINOES 15.JUST A WAVE 16.WEST TEXAS WALTZ
Jimmie Dale Gilmore - Austin, 1991, FM
JIMMIE DALE GILMORE - AUSTIN 1991 FM Broadcast, no details. Re-tracked by JTT (Soundforge 8) Artwork Included Austin, Texas. October 13th. 1991 01. MY MIND'S GOT A MIND OF IT'S OWN 02. TONIGHT I THINK I'M GONNA GO DOWN TOWN 03. THESE BLUES 04. TREAT ME LIKE A SATURDAY NIGHT 05. SHE BELONGS TO ME 06. HOWLIN' AT MIDNIGHT 07. JUST A WAVE, NOT THE WATER 08. AFTER AWHILE 09. UP TO YOU 10. STORY OF YOU 11. WHITE FREIGHTLINER BLUES 12. MIDNIGHT TRAIN
David Gilmour - Mesa Amphitheater, Mesa, Arizona, Jul. 19, 1984
David Gilmour About Face Tour Mesa Amphitheater, Mesa AZ June 19, 1984 Disc 1 : Total Time: 75:09 01_ Until We Sleep 7:17 02_ All Lovers Are Deranged 5:15 03_ Love On the Air 6:23 04_ Mihalis 10:35 05_ Short and Sweet 8:07 06_ Money 11:31 07_ Out of the Blue 4:11 08_ Let's Get Metaphysical 5:51 09_You Know I'm Right 8:08 10_ Run Like Hell 7:47 Disc 2: Total time: 70:28 11_ Blue Light Jam (including Drum Solo) 10:09 12_ Murder 7:34 13_ Comfortably Numb 10:33 *Filler- MTV 1984 Hammersmith (ripped from VHS)* 14_ Short and Sweet 4:54 15_ Run Like Hell 6:45 16_ Out of the Blue 3:45 17_ Blue Light 6:57 18_ Murder 9:39 19_ Comfortably Numb 10:07 iLineage: Master tape > Audiophile 2498 > Peak 4.0 > from my closet to you! BIG Thanks to YEESHKUL for everything. This is my first torrent here, I have only been on DIME a bout 3 months, so I am still new at all this. Someone here had requested this one, so I dug it out. Please rate it, I need some feedback. I am on DSL, I will keep it goin g as long as i can, Thanks for your patience. No remastering done, please keep it that way. Very few glitches, I cut some crowd noise. Do not encode to lossy formats. An everlasting Curse upon anyone who sells this show, set the music FREE!!! I have decided to start releasing some of my masters again, digging through my tape closet this one caught my eye. Great show, a little muddy at first but it gets better quickl y as the crowd settles down. It's not perfect, I taped it using a Sony Walkman record er (that was the best I had back then), but most of the sound came out pretty clean ( 8 or 9 in my scale). I had forgotton how good that '84 tour was. I think it's worthy just because of the 10-1/2 minutes of Mihalis alone (plus the Metaphysical instrument al is really cool), but that's jut my humble tapers opinion...^M^Menjoy!^M^MPingmon^M ^MPS- This torrent is dedicated to the girl from work I took to the show, who was fir ed because she did not make it to work the next day. I forget her name, but she was c ool, I hope a copy of this recording finds it's way to her somehow... cheers!
David Gilmour - Teatro Arcimboldi, Milan, Italy, Mar. 24, 2006
David Gilmour 2006-03-24 Teatro Arcimboldi Milano, Italia "It's time to GIG another one!!!" Recorded by Alessandro F. (firstname.lastname@example.org) AIWA CM-P11>SHARP MD-MS702>Soundblaster Live!>GoldWave 5.08>flac Disc 1 01) Castellorizon 02) On an island 03) The blue 04) Red sky at night 05) This heaven 06) Then I close my eyes + band intro 07) Take a breath 08) Smile 09) A pocketful of stones 10) Where we start Disc 2 01) Shine on you crazy diamond 02) Wot's...uh the deal 03) Wearing the inside out 04) Coming back to life 05) Breathe 06) Time 08) Breathe (reprise) 09) High hopes 10) Echoes Disc 3 01) Wish you were here 02) Comfortably numb Coverart by BRAIN DAMAGE Special thanks to: My father Leo My brother Enrico "Drigo" Daniele Gianluca BrainDamage FOR TRADE ONLY - NOT FOR SOLD Not to encode as lossy file! Seeded for the first time on In Floyd We Trust Hub - pinkfloydhub.no-ip.org
David Gilmour - Radio City Music Hall, NYC, Apr. 4, 2006
DAVID GILMOUR Radio City Music Hall, New York, NY April 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 Dime. (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 business. -TA Setlist: CD1: 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* CD2 12 Wearing the Inside Out 13 Dominoes 14 Fat Old Sun 15 Breathe 16 Time 17 Breathe (Reprise) 18 High Hopes 19 Echoes Encores: 20 Wish You Were Here 21 Find the Cost of Freedom# 22 Comfortably Numb *with David Crosby and Graham Nash vocals #Crosby, Nash & Gilmour a cappella
David Gilmour - Massey Hall, Toronto, Canada, Apr. 10, 2006, MTX (2 discs)
David Gilmour Massey Hall, Toronto 10 April, 2006 Multi source matrix Recorded from the audience 3 recorders were used to create this matrix, all complete sources: rec.1: "Two Days On An Island - Day II" rec.2: "Burnboy" rec.3: "Dreamers May Leave" 1. bass reduced on rec 1, increased on rec 2 2. Recorder 3 channel balance 3. Extensive removal of talking, coughing, mic bumps and loud audience noise. 4. Slight dehissing used in final mix All Sources > DBPoweramp > Wave > Guitar Tracks Pro 3.0 > > Magix Audio Cleaning Lab > Audacity (fades) > CDWave > DBPoweramp > Flac Disc 1: 01 Castellorizon [3:50] 02 On An Island [7:59] 03 The Blue [6:05] 04 Red Sky At Night [3:31] 05 This Heaven [4:43] 06 Then I Close My Eyes [11:26] 07 Take A Breath [7:16] 08 Smile [4:35] 09 A Pocketful Of Stones [6:46] 10 Where We Start [7:33] 11 Shine On You Crazy Diamond [11:00] Disc 2: 01 Wearing The Inside Out [8:59] 02 Coming Back To Life [7:04] 03 Dominoes [5:24] 04 Breathe [3:20] 05 Time [5:26] 06 Breathe (reprise) [1:33] 07 High Hopes [9:51] 08 Echoes [22:30] 09 Wish You Were Here [5:53] 10 Comfortably Numb [9:30] I request that no title or artwork be associated with this recording.
David Gilmour - Konzerthaus, Dortmund, Germany, Oct. 3, 2006
David Gilmour Konzerthaus Dortmund 10.03.2006 Tracks: Disc 1: 1-01 Castellorizon 1-02 On An Island 1-03 The Blue 1-04 Red Sky At Night 1-05 This Heaven 1-06 Then I Close My Eyes 1-07 Smile 1-08 Take A Breath 1-09 A Pocketful Of Stones 1-10 Where We Start 1-11 Shine On You Crazy Diamond Disc 2: 2-01 Wot's...Uh The Deal 2-02 Wearing The Inside Out 2-03 Breathe 2-04 Time 2-05 Breathe Reprise 2-06 Dominoes 2-07 High Hopes 2-08 Echoes 2-09 Wish You Were Here 2-10 Comfortably Numb recorded from row 15 using Sony MZ N910 MD recorder and Sony ECM 717 microphones For trade and give away only - NOT FOR SALE !! Dont encode to any lossy format !! Dont remaster !!
David Gilmour - "Live on a Snowy Island," Hamburg, Germany, Nov. 3, 2006
David Gilmour Live in Hamburg 11.03.2006 - "Live On A Snowy Island" Live im Congress Centrum Hamburg CD1 1.1 Castellorizon 1.2 On an island 1.3 The Blue 1.4 Red sky at night 1.5 This heaven 1.6 Then I close my eyes 1.7 Smile 1.8 Take a breath 1.9 A pocketful of stones 1.10 Where we start CD2 2.1 Shine on you crazy diamond 2.2 Wots the deal 2.3 Wearing the inside out 2.4 Breathe 2.5 Time 2.6 Breathe Reprise 2.7 Dominoes 2.8 High Hopes 2.9 Echoes CD3 Encores: 3.01 Wish you where here 3.02 Comfortably Numb Recorded with Sharp MD IM-DR420H(S) and Sony ECM-717 MiC (attached to front collar) . Converted in wav in Wavelab 4.0, Effects added: EQ (no bass as it is already domina nt), Puncher (+ 1db), Stereo Expander (100%). Note: Noise in Dominoes due to problems with mic. Not the best quality, but definately a great reminder of a great evening. Hope you enjoy it! thedrumanimal For Trade or Give Away only - Do not Sell - Do not encode as lossy file
Go Betweens - Cottesloe Hotel, Perth, Australia, Mar. 4, 1985
The Go Betweens 4 march 85 Cottesloe Hotel and Lounge, Perth, Australia 1st gen. audience master - THIS COPY(chrome cass.) - cdr- flac - world 1. a bad debt follows you 2. unkind and unwise 3. on my block 4. for him 5. cattle and cain 6. part company 7. draining the pool for you 8. the right word 9. bachelor kisses 10. five words 11. i need 2 heads 12. you've never lived 13. man 'o sand... 14. that way encore 15. king in mirrors 16. hammer the hammer 17. people say one for Grant...
Go Betweens - Texas Records, Santa Monica, CA, Sep. 12, 1987
The Go Betweens TEXAS RECORDS, santa monica, Ca. 12 sept. 87 SONY Stereo Cassette deck - (master cass.) - CDR - Flac - world recorded with 2 stereo mics hanging above the band in the record store. 1. Part company 2. Five Words 3. House that Jack Kerouac built 4. Your Turn, my turn 5. Don't let him come back 6. This girl, Black girl 7. right here 8. Lee Remick for Grant.
Go Betweens - Knitting Factory, LA, CA, Dec. 2, 2000
The Go Betweens 2 dec 2000 Knitting Factory, Los Angeles Ca. audience master from video - CDR - Flac - world (recorded with CSB mics, hung over the balcony, into 3chip MINI DV Camera) some dropouts occur... CD 1 1. orpheus beach 2. german farmhouse 3. Head full of steam 4. right here 5. magic in here 6. he lives my life 7. spirit 8. haunted house 9. heart and home 10. baby stones 11. outside the circle 12. going blind 13. the clock 14. spring rain encore 1 15. clouds 16. was there anything...
Go Betweens - Troubadour, LA, CA, Jun. 18, 2005
The Go Betweens 18 june 2005 The Troubadour, Los Angeles Ca. audience master from video - CDR - Flac - world (recorded with CSB mics, hung over the balcony, into 3chip MINI DV Camera) a few dropouts occur... CD 2 1. intro 2. magic in here 3. born to a family 4. boundry rider 5. poison in the walls 6. make her day 7. was there anything i could do 8. finding you 9. darlinghurst nights 10. draining the pool for you 11. the clock 12. german farmhouse 13. this nights for you 14. surfing magazines 15. spring rain 16. streets of your town 17. here comes the city
Golden Smog - Bowery Ballroom, NYC, Jul. 25, 2006
GOLDEN SMOG Bowery Ballroom New York City July 25, 2006 * * * 16-bit version * * * Source: DPA 4027 > Lunatec V3 > SD 722 (96k/24) Peak Pro 5.2 (sample rate conversion; bit-rate reduction)> xACT NB The recording levels were a tad too high and there was audible clipping during tr ack 11, disc 1 (when Linda Pitmon was on drums). The clipping was edited out. The o riginal track 11, however, is included as track 11A. Disc 1: 1. prelude 2. Looking Forward To Seeing You 3. You Make It Easy 4. V 5. To Call My Own 6. Beautiful Mind 7. Think About Yourself 8. Ill-Fated 9. 5-22-02 [with horns and Jenny Muldaur background vox] 10. Starman 11. Frying Pan Eyes [with Linda Pitmon on drums] 12. Jennifer Save Me 13. Can't Even Tie Your Own Shoes [with horns] 14. Hurricane 15. Won't Be Coming Home Disc 2: 1. Never Felt Before [with horns] 2. Cure For This [Jenny Muldaur lead vox] 3. Another Fine Day 4. He's a Dick 5. If I Only Had A Car 6. Corvette (encore break) 7. Gone 8. Until You Came Along 9. Revolution Blues [with Mike Mills on guitar] 10. I Wanna Be Your Dog [Craig Finn lead vox] -- setlist from paul http://forums.viachicago.org/index.php?showtopic=23476
Steve Goodman - Amazing Grace, Chicago, 1975
STEVE GOODMAN AMAZING GRACE, Chicago 1975 1. Chicken Cordon Blues 2:54 2. Door Number 3 4:32 3. Overeducated And Unemployed 2:04 4. The Dutchman 5:29 5. Turnpike Tom 6:33 6. Lincoln Park Pirates 3:39 7. This Hotel Room 4:44 8. Spoon River Song 5:19 9. The City Of New Orleans 5:09 10. You Never Even Call Me By My Name 5:51 11. When The Saints Come Marching In 4:24 Total: 50:42 Lineage: FM>CDR>PC>EAC>CDR Exact date unknown Great show from the criminally underrated Steve Goodman,taped at one of Chicago's 70's folk fixtures,Amazingrace. This is an FM broadcast, with some audible reception interference, but otherwise extremely enjoyable! Any errors in info or if you know the exact date, please let mw know! Enjoy! (This is my first torrent upload so please bear with me!)
Steve Goodman - The Bottom Line, NYC, Oct. 10, 1977, FM
Steve Goodman The Bottom Line New York City 10/10/77 This is an upgraded version of the wonderful October 10, 1977 Bottom Line show as broadcast over WNEW-FM. Steve is joined by Jethro Burns, Saul Broudy and Steve Burgh on this set. This version eliminates some of the warble, tape drag and speed problems from the version currently circulating. It, too, comes from a first generation reel to reel but does exhibit some tape hiss that I have chosen NOT to remove for two reasons: 1) I'm not adept at it, and 2) I wanted to avoid the artifac ts that are typically introduced from this sort of alteration. Source cd from Steve Goodman Tree # 1 - Administered by John Epstein SHN Transfer by email@example.com - 3/1/03 FM-MR>CD>SHN 1) Red Red Robin 2) Video Tape 3) Flotilla (If You Want it Done Right, You've Got to Do it Yourself) 4) Old Smoothies 5) The 20th Century is Almost Over 6) You're the Girl I love 7) Men Who Love Women Who Love Men 8) Two Lovers 9) Can't Go Back 10) My Old Man 11) Is It True What They Say About Dixie? 12) Don't Let the Stars Get in Your Eyeballs 13) Spoon River 14) Jesse Jig (Rob's Romp, Beth's Bounce) 15) City of New Orleans 16) Old Fashioned
Steve Goodman - Great Southeast Music Hall, Atlanta, GA, Nov. 1, 1977, FM
STEVE GOODMAN GREAT SOUTHEAST MUSIC HALL ATLANTA, GA. NOVEMBER 1, 1977 WKLS FM Broadcast DISC 1: 01. Red, Red Robin 02. Banana Republics 03. Youre The Girl I Love 04. Im Attracted To You 05. Video Tape 06. Three-Legged Man 07. Mind Your Own Business 08. Between The Lines 09. Rainbow Road 10. Old Smoothies 11. Moby Book 12. Ill Fly Away 13. Bandstand DISC 2: 01. Yellow Coat 02. Jessies Jig 03. Spoon River 04. Is It True What They Say About Dixie? 05. Donald and Lydia 06. Turnpike Tom 07. Door Number Three 08. My Old Man 09. The Auctioneer 10. Just Lucky I Guess Aquired through the Steve Goodman Preservation Society Tree in mkw format, transfered to shn. No DAE since initial tree seeding
Steve Goodman - Bogart's, Cincinnati, OH, Apr. 18, 1979, FM
STEVE GOODMAN April 18, 1979 Bogart's Cincinnati, OH (WEBN-FM Broadcast) Disc 1: 01. 4:09 - Just Lucky I Guess 02. 3:38 - Banana Republics 03. 5:34 - Luxury's Lap 04. 5:38 - Would You Like To Learn To Dance 05. 4:18 - What Have You Done For Me Lately? 06. 4:43 - You're The Girl I Love 07. 3:38 - The One That Got Away 08. 3:43 - This Hotel Room 09. 2:26 - Chicken Cordon Bleus 10. 3:37 - The Auctioneer 11. 2:25 - It's A Sin To Tell A Lie 12. 3:13 - My Old Man 13. 4:47 - The Dutchman 14. 6:32 - (band introduction) City Of New Orleans 15. 4:04 - Men Who Love Women Who Love Men 16. 5:51 - Hand It To You Total time: 68:15 Featuring: *Amy Madigan: vocals, percussion, keyboards Peter Bunetta: drums Arno Lucas: percussion, vocals Rick Chudacoff: bass Jim Rothermel: saxophone, harmonica, clarinet, recorder
Steve Goodman - The Birchmere, Alexandria, VA, Feb. 1, 1982, SBD
Steve Goodman - 02-01-82 The Birchmere, Alexandria VA Source: SBD>1st gen analog>Gina>SHN Disc One: It's Midnight and I'm Not Famous Yet Elvis Imitators I Just Keep Falling In love Dying Cub Fan's Last Request Penthouse Forum This Hotel Room Talk Backwards 20th Century Is Almost Over Is It True What They Say About Dixie? Jessie's Jig Don't Let The Stars Get In Your Eyeballs Tico Tico San Antonio Rose City Of New Orleans Auctioneer You Never Even Call Me By My Name The Dutchman Truck Driving Man Disc Two: Love Please Come Home Mama Don't Allow Spoon River Rocky Top Sea Of Love Filler: 1976 BBC FM I Hope You're Satisfied City Of New Orleans Good, Good Woman Traveling Salesman Joke Old Fashioned Country Western You Never Even Call Me By My Name
Dexter Gordon - Roma Teatro Olimpico, FM (2 discs)
Mike Gordon & Ramble Dove - Buck Owens Tribute, Radio Bean, Mar. 28, 2006
Artist: Mike Gordon and Ramble Dove w/ guests Date: March 28 2006 Venue: Radio Bean Source: DFC, PAS, Sennheiser ME66 Shotguns> ART 48v Phantom> Samson Mixpad 4> Sony R H10 HiMD recorder @ PCM 44.1/16 > Sonicstage 3.4> CD Spindoctor> xACT (or Toast if y ou got cd's) Recorded by Jesse Fridlich Honky Tonk Tuesday Tribute to Buck Owens, whom had passed away over the weekend. Marie Claire vocals**, (piano?) Joe Cleary Fiddle Neil Cleary Drums Tom Cleary Piano Mike Gordon Bass vocals* Brett Hughs vocals Aya Inoue vocals*** Gordon Stone Slide Set 1 tuneup Love's Gonna Live Here Heartbreak Mountain All I Gotta Do is Act Naturally* Together Again My Heart Skips a Beat*** Pass the Buck-et Hello Trouble (Come On In) Today I Started Loving You Again** Tiger by the Tail You Win Again Foolin Around*** Crying Time Set 2 tuneup Six Feet of Snow* One Piece at a Time I Don't Wanna Play House**,*** I Wash My Hands in Muddy Water Big Iron Don't Come Home a Drinkin' (With Lovin' on Your Mind) Ocean of Diamonds Jackson
Robert Gordon - Capitol Theater, Passaic, NJ, Dec. 31, 1978, FM
ROBERT GORDON AND CHRIS SPEDDING CAPITOL THEATER,PASSAIC,NJ DEC.31,1978 1-ROCK BILLY BOOGIE 2-LOVE MY BABY 3-I JUST FOUND OUT 4-TALK 5-IT'S ONLY MAKE BELIEVE 6-FIRE 7-THE WAY I WALK 8-BLUE CHRISTMAS 9-BLACK SLACKS 10-ALL BY MYSELF 11-20 FLIGHT ROCK 12-RED HOT 13-MYSTERY TRAIN > 14-LONESOME TRAIN 15-BAND INTROS 16-WHEEL OF FORTUNE 17-CROWD 18-FLYING SAUCER ROCK AND ROLL WNEW-FM BROADCAST > REEL > REEL > M-AUDIO TRANSIT > COOL EDIT > CD WAVE EDITOR > FLAC
Gourds - Ramshead Tavern, Annapolis, MD, Apr. 28, 2004
The Gourds April 28, 2004 Ramshead Onstage Annapolis MD source: schoeps mk4v (ORTF on stand @ ~10') > vms02ib > modSBM (6.5 @ 48k) > d8 transfer: archive python > dat2wav v1.2 > sf4.5 (fades, tracking, downsample) > shntool > flac v1.1 cycled 26 miles on the BA trail, took a quick shower, then dashed down to the ramshead for a gourds show and a pitcher of copperhead. a nice evening! :-) Web Before You Walk Into It Ladies Choice My Name is Jorge Raining in Port Arthur Blankets Shamrock Bound Hellhounds Honduras Oh Rings Sweet Nutty Waxie's Dargle Dying of the Pines Plaid Coat Layin' Around the House On Time Steeple Full of Swallows Cracklin's Lament Rugged Roses Pickles Oh Zero Ants on the Melon El Paso Encore break Rock Salt & Nails (Kevin solo) Up on High Blue Eyes Crying in the Rain > Maria Take Me Back to Tulsa
Gourds - Gothic Theater, Denver, CO, Jan. 13, 2007
The Gourds @ The Gothic Theater, Denver 1/13/07 AT853> CA ST-9100>H120 (Rockboxed) 1 Intro & Gods House (acapella) 2 Collections 3 Laying Around The House 4 5 Blood On The Ram 6 7 Caledonia 8 9 10 El Paso 11 12 13 My New Roommate 14 15 16 Burn The Honeysuckle 17 18 19 Tuning Part I 20 ? & Band Intros 21 Pine Island Bayou 22 Gin & Juice>Up On Cripple Creek>Gin & Juice 23 24 25 Crowd 26 27 Pill Bug Run 28
Jon Dee Graham
The Knockout, SF, CA, Aug. 15, 2006, SBD
JON DEE GRAHAM solo performance AUGUST 15, 2006 THE KNOCKOUT, SF SOURCE: SBD>JB3>USB>EAC>FLAC>THE WORLD We had $20 tickets to see Dave Alvin at Palms, then i noticed Jon Dee was playing at The Knocko ut the same night...decision time...we swallowed the 20 bucks...no regrets, JD was spectacular. ..I asked JD if it was cool to record, his response(and i quote) "YES!, as long as you share it with the WHOLE FUCKING WORLD" buy his CD's at www.jondeegraham.com setlist, probably need some help here DISC 1 TIE A KNOT SWEPT AWAY ANYMORE AMSTERDAM REMAIN SOMETHING VERY WONDERFUL FULL WHAT DID WE DO WRONG SPIN AWAY DON'T TURN AWAY OCTOBER DISC 2 FAITHLESS ROSEWOOD SOONDAY MADJESTY OF LOVE LAREDO ANOTHER DAY IN THE SUN(KATHY MCCARTY) CHANGE IN ME WAIT VOLVER VOLVER BUTTERFLY WING
Grateful Dead - Original Aoxomoxoa Mix (9/69-3/69)
Grateful Dead 9-68 to 3-69 Pacific Recording Studios - San Mateo, CA Source: Ampex 16-track tape > LP > 24-bit, 44.1 kHz WAV > 16-bit, 44.1 kHz WAV > SH N A>D transfer: Linn LP12/Lingo turntable, Linn Ittok tonearm, Lyra Helikon cartridge , PS Audio PCA-2 preamplifier, M Audio Audiophile USB external, A/C powered sound car d This is the original mix of Aoxomoxoa, which was released commercially between June 1969 and late 1971. In September, 1971, Jerry Garcia did a major remix of the entire album, eliminating a considerable amount of the backing material and trimming the beginning and end of a few songs. The LPs, cassettes, and CDs available commercially since that time contain the remix. There appear to be no pla ns to commercially release this original mix, so it is being made available to the broader community. To sustain the ethical integrity of this process, please do not download these file s unless you are already in possession of a commercial release of Aoxomoxoa and would like to compare it with t he original mix. The LP copy from which this was derived is in VG condition, and the analog equipmen t used to extract the sound from the grooves is near state of the art. There is some minor surface noise audible in the quietest passages, but not obtrusive even then, and almost no tracking distortion. Disc 1: (38:02) 1. St Stephen (4:26) 2. Dupree's Diamond Blues (3:40) 3. Rosemary (2:04) 4. Doin' That Rag (5:14) 5. Mountains of the Moon (4:11) 6. China Cat Sunflower (4:16) 7. What's Become of the Baby (8:27) 8. Cosmic Charlie (5:40)
Grateful Dead - The Acid Test Reels (1965-1967)
Grateful Dead & Merry Pranksters^M The Acid Test Reels^M 1965-1967^M A chronological compilation of the Acid Test recordings listed in ^M The Grateful Dead Tapers Compendium Volume One.^M DISC ONE: Fillmore Acid Test/Sound City Acid Test^M The Fillmore Acid Test^M Fillmore Auditorium, San Francisco, CA^M January 8, 1966^M 1. Stage Chaos/More Power Rap^M 2. King Bee^M 3. I'm A Hog For You Baby^M 4. Caution: Do Not Step On Tracks >^M 5. Death Don't Have No Mercy^M 6. Star Spangled Banner / closing remarks^M The Sound City Acid Test^M 363 6th Street, San Francisco, CA^M January 29, 1966^M 7. Ken Kesey interviewed by Frank Fey^M 8. Ken Babbs and harmonica^M 9. Take Two: Ken Kesey^M 10. Bull^M 11. Peggy The Pistol^M 12. One-way Ticket^M 13. Bells And Fairies^M 14. Levitation^M 15. Trip X^M 16. The End^M 7-16 The Acid Test: A Sound City Production^M DISC TWO: Pico Acid Test /S.F. State U Acid Test (pt.1)^M The Pico Acid Test^M Danish Center, Los Angeles, CA^M March 12, 1966^M 1. Viola Lee Blues^M 2. You See A Broken Heart^M 3. In The Midnight Hour^M The San Francisco State Acid Test ^M Whatever It Is Festival^M San Francisco State University, San Francisco, CA^M Stereo Control Room Master (rec. 4:00AM - 6:00AM)^M October 2, 1966^M 4. The Head Has Become Fat Rap^M 5. A Mexican Story: 25 Bennies^M 6. A Tarnished Galahad^M 7. Get It Off The Ground Rap >^M 8. It's Good To Be God Rap >^M 9. Nirvana Army Rap >^M 10. The Butcher Is Back^M 11. Acid Test Graduation Announcement^M 12. Send Me To The Moon >Closing Rap^M Credits on 10/2/66:^M Voices: Ken Kesey and Hugh Romney^M Guitar: Ken Kesey^M Violin: Dale Kesey^M Organ: Jerry Garcia^M Engineering: Steve Newman, Ken Kesey, Mountain Girl^M DISC THREE: S.F. State U Acid Test (pt. 2)/Graduation Jam^M The San Francisco State Acid Test ^M Whatever It Is Festival^M San Francisco State University, San Francisco, CA^M October 2, 1966^M 1. Ken Kesey's dialogue (isolated remix)^M Merry Prankster Sound Collage Sequences^M October 2, 1966^M 2. Prankster Music/Sound Collage #1(sequence 1)^M 3. Kesey Rap > Prankster Music/Sound Collage #2 (sequence 2)^M 4. Prankster Sound Collage #3 > Prankster Raga(sequence 3)^M Prankster Recordings broadcast over the P.A.^M End of Whatever It Is Festival^M October 2, 1966^M 5. Closing Jam^M 6. Prankster Electronics^M Acid Test Graduation Jam^M Winterland, San Francisco, CA^M October 31, 1966^M 7. Jam Session (musicians unknown)^M from The World Of Acid film soundtrack^M Disc Four: Related Recordings^M Neal Cassidy & The Warlocks 1965^M 1. Speed Limit^M studio recording/Prankster production tape circa late 1965^M Straight Theater, Haight Street, San Francisco, CA July 23, 1967^M 2. Neal Cassidy Raps (backed by The Dead)^M recording released as a flexi-disc in the 1st printing of The Dead Book^M Acid Tests Production Reel^M 3. Jerry Garcia commentary with Acid Test audio^M 710 Haight Street House, San Francisco, CA summer 1967^M 4. - 6. Jerry Garcia ^M one hour interview about music, drugs, politics and social changes circa 1967 compilation and package by Alan Bershaw^M shn discs by TaW^M Note 1: I split the 1h Jerry interview on disc 4 into 3 smaller pieces (a-c).^M Note 2: The shn-tracks for audio disc 4 are split between shn-discs 2 and 3!^M
Grateful Dead - Garcia Discs
The Garcia Discs Source: 99% SBD Thanks to Ed Maier for this compilation: This is an 8 disc set of all Garcia. Mixed with much love using Vegas Pro 3.0. Sele ctions are taken from The Grateful Dead, Reconstruction, Legion of Mary, JGB & Garc ia/Grisman. A week straight of late nights went into this mix and a bit of red wine . Many tracks are continuous even though they are from different shows. Thanks to J BL for the inspiration. And above and beyond thanks to Garcia for showing us the wa y. This is for the people. Enjoy. Disc One 1 Dancin' in the Streets > 2 Franklin's Tower 10.27.79 3 Here Comes Sunshine 2.23.74 4 Sugaree 6.15.76 5 Mystery Train 9.2.74 6 Finders Keepers 1.17.73 Disc Two 1 China Cat > 2 I Know You Rider 2.24.74 3 Bertha 8.6.71 4 Hard to Handle 8.6.71 5 The Thrill is Gone - Honeymoon Tapes '92 6 Sitting in Limbo - Honeymoon Tapes '92 7 Mountains of the Moon 2.27.69 8 Alligator > Jam > 9 GDTRFB > 10 Cold Rain and Snow 4.28.71 Disc Three 1 Bird Song 3.29.90 2 Mission in the Rain 12.3.83 3 Rhapsody in Red 12.3.83 4 Eyes > 6.18.74 5 Big River 6.18.74 6 Aiko Aiko 4.16.78 Disc Four 1 Scarlet > Fire 12.30.78 2 Stella Blue 11.17.73 3 Jam > 4 Last Train > 5 After Midnight Dicks Gifts 6 Comes a Time 6.25.91 7 Mr. Charlie 5.3.72 Disc Five 1 Help > Slip > Franklin's 9.10.91 2 Don't Let Go 3.27.82 3 Terrapin Station 9.3.77 4 Loser 5.26.72 5 Morning Dew 9.18.87 Disc Six 1 St. Stephen > 2 The Eleven 2.27.69 3 Loose Lucy 8.6.74 4 Candyman 2.24.74 5 They Love Each Other 2.21.76 6 Not Fade Away > 7 Wharf Rat 11.6.77 Disc Seven 1 Shakedown 6.30.85 2 Dear Prudence 11.26.88 3 Dark Star > 4 Cumberland 9.27.72 5 Somebody to Love 8.24.91 6 Shining Star 8.24.91 Disc Eight 1 Mississippi Half Step 11.6.77 2 The Wheel 5.7.77 3 Althea 7.19.90 4 Crazy Fingers 6.3.76 5 Foolish Heart 5.7.89 6 That's What Love 6.22.79 7 Dixie Down 12.15.74 8 Ripple 10.11.80 9 We Bid You Goodnight 4.29.71 Compiled by: Ed Maier Uploaded by: Rob Werner (firstname.lastname@example.org)
Grateful Dead - "Jerry Ballads"
Disc 1 01. Cailfornia Earthquake (10-23-89) 02. Must Have Been the Roses (7-19-74) 03. Built to Last (7-17-89) 04. Its All Over Now, Baby Blue (2-24-74) 05. If I Had the World To Give (11-20-78) 06. Ripple (10-11-80) 07. Brokedown Palace (9-20-70) 08. Standing on the Moon* (9-10-91) 09. Days Between (3-27-95) 10. She Belongs To Me (9-15-85) 11. Black Muddy River (7-9-95) *with Branford Marsalis --Various SBD sources, except 11-20-78, which is Chris Chappels (Sick Bits Vol. 16a) Disc 2 01. Believe It or Not (7-17-88) 02. Bird Song (8-27-72) 03. Lazy River Road* (9-22-93) 04. Death Dont Have No Mercy (8-23-68) 05. That Would Be Something (4-1-94) 06. Rueben and Cherise (3-27-91) 07. Terrapin -> (3-18-77) 08. Alhambra (3-18-77) 09. Althea (9-6-80) 10. Mission in the Rain (6-29-76) 11. Goodnight Irene** (12-31-83) *with David Murray **with Maria Muldar and Rick Danko --Various SBD sources, except 9-6-80, which is (fob) Nak 700 by Jim Wise Disc 3 01. Touch of Gray (12-15-86) 02. Mountains of the Moon (3-1-69) 03. Matilda* (3-23-95) 04. High Time (5-18-77) 05. West L.A. Fadeaway* (10-24-90) 06. China Doll (5-26-73) 07. Visions of Johanna (4-7-95) 08. To Lay Me Down (9-18-74) 09. Wharf Rat -> (7-8-78) 10. Franklins Tower (7-8-78) *with Bruce Hornsby --All SBD sources Disc 4 01. Eyes of the World* (3-29-90) 02. Row Jimmy (6-8-77) 03. So Many Roads (10-1-94) 04. Morning Dew (5-8-77) 05. Crazyfingers (8-18-89) 06. Comes a Time (5-1-77) 07. Heavens Door (2-7-89) *with Branford Marsalis --Various SBD sources Disc 5 01. Cold Rain and Snow (12-27-77) 02. Loose Lucy (8-6-74) 03. They Love Each Other (6-9-77) 04. Train to Cry* (6-10-73) 05. Uncle Johns Band (7-25-74) 06. Brown Eyed Women (6-14-76) 07. G. D. T. R. F. B. (7-3-88) 08. Black Peter (10-29-77) 09. Loser (4-5-71) 10. Candyman (10-15-94) 11. Sing Me Back Home (8-27-72) *with the Allman Bros. and Merle Saunders --All SBD Sources-- Disc 6 01. Sugaree (12-28-79) 02. New Speedway Boogie* (5-15-70) 03. Hes Gone (10-27-79) 04. Friend of the Devil (11-6-77) 05. Dire Wolf (12-19-73) 06. Been All Around this World (10-3-80) 07. Ramble On Rose (10-31-79) 08. Peggy-O (4-16-78) 09. Jam -> Werewolves of London (10-31-85) *with NRPS --SBD Sources --Werewolves aint a ballad, but oh well... Disc 7 01. Here Comes Sunshine -> Jam.. (4-2-73) 02. The Wheel (10-7-77) 03. Tennessee Jed (9-17-72) 04. Ship of Fools (10-2-87) 05. Scarlet -> Fire (5-7-78) 06. Stagger Lee (10-21-78) 07. Deep Elem Blues (3-9-81) 08. Nobodys Fault But Mine (12-19-94) 09. Liberty (3-20-93) --All SBD Sources Disc 8 01. Foolish Heart (7-17-88) 02. Half Step (12-1-73) 03. Duprees Diamond Blues (4-5-69) 04. Jerry Speaks 05. Attics of My Life (10-9-89) 06. Help -> Slip -> Franklins (5-9-77) 07. Jack-a-Roe (5-17-77) 08. Stella Blue (8-1-94) 09. Brokedown -> Bid U Goodnite* (9-26-91) 10. Jerry Speaks *with Bruce Hornsby --All SBD sources
Gourds - Barleypalooza, Barley House, Dallas, TX, Jun. 1, 1997, SBD
The Gourds - Barleypalooza Barley House, Dallas, Texas, June 1, 1997 1. soundcheck, tuning, intro 2. The Old Man from the Mountain 3. LGO 4. Piss and Moan Blues 5. Coppermine 6. Up Against the Wall, Redneck Mother 7. caledonia 8. At the Crossroads 9. Gravity Talks 10. Wildwood Flower 11. I Come Up 12. All the Labor 13. I'm Troubled 14. If I Should Fall from Grace with God 15. Gin 'n Juice/Daytime Friends & Nighttime Lovers/Heroin Source: sbd> DAT Transfer: Tascam DA20mkII> Egosys U2A Editing and tracking: Soundforge, CDWave, FLAC Frontend level 7 boundary aligned
Gov't Mule - Capt. Trips Rainforest Preserve, Utica, NY, Dec. 28, 1995, SBD
Govt.Mule 12/28/95 Capt.Trips Rainforest Preserve Utica, N.Y. source;dsbd>wav>ripped w/ eac>retracked w/cdwav>shn(usin mkw tool comments known flaws = d1t9 digi noise from 5.10>5.14 other then thet this is nice n crisp enjoy n please share 1Setshow:disc 1 band intro> Mule, Mr. Big > Temporary Saint > Rocking Horse Kind Of Bird,> Painted Silver Light, The Same Thing > Don't Step On The Grass,Sam, Goin' Out West, cd2 Grinnin' In Your Face > Pygmy Twylyte >Blind Man In The dark Politician, Come On In My Kitchen intro > Just Got Paid > Who Do You Love?> just got paid Encore: Trane > Third Stone jam >Eternity's Breath jam >St. Stephen jam>Young Man Blues>Good Morning Little School Girl>Young man Blues
Gov't Mule - Beacon Theater, N.Y., Dec. 31, 2005
Gov't Mule Beacon Theater New York, New York December 31, 2005 Set One: Disc One: 01. Auld Lang Syne Jam 02. Bad Man Walking 03. Lay Your Burden Down 04. Don't Step On The Grass 05. I'll Be The One (with Can't Always Get What You Want) 06. Life Before Insanity 07. I'm A Ram 08. Loser > 09. Terrapin Coda > 10. Loser > 11. Train Kept A Rollin' Set Two: Disc Two: "Gov't Mule Review" with Holloway Horns & Jimmy Vivino (Go Go Dancers, Band In Suits And Ties) 01. Intro > 02. Can't Turn You Loose (Warren guitarless) 03. Shake (Warren guitarless) 04. I've Been Loving You Too Long (Vivino hands Warren his guitar 1/2 way thru) 05. Down & Out In NYC 06. What Is Hip? 07. Thelonius Beck Interlude > 08. I Shall Return > 09. Thelonius Beck Interlude > 10. The Letter > 11. Thelonius Beck Interlude > 12. I Believe To My Soul 13. "NYE cOUNTDOWN" 14. Night Time Is The Right Time 15. Bad Little Doggie 16. Papa's Got A Brand New Key > Soul Power Set Three: Disc Three: 01. 30 Days In A Hole > I Don't Need No Doctor 02. Beautifully Broken 03. Effigy 04. Folsom Prison Blues^ 05. That's What Love Will Make You Do^* 06. Blindman In The Dark~ Encore 1: 07. It Hurts Me Too@ Encore 2: 08. Soulshine^* comments : ^ with Jimmy Vivino * with Holloway Horns ~ with Ron Holloway @ with Hooke Herrera & Alvin Young Hart Source : Audience Recording by Freddie G. Microtech Gefel M200 (cardiod) > EAA PSP 3 > SBM1 A/D converter > Sony D8 > DAT > HHB 850 > CDR 1st Row Loge Right Center Aisle CDR > .flac conversion by Eamon Keenan CDR > EAC > .wav > flac frontend level 8 > .flac No editing / normalization performed problems / comments to w_h_i_r_l_e_d_p_e_a_s@earthlinkDOTnet
Gov't Mule - 2006 Spring Mix Compilation
Gov't Mule 2006 Spring Mix Compilation This is just a fun little mix I threw together. Gov't Mule just tore up the east coa st and midwest in April. I vicariously live at these shows through the tapers who expertly record and share these shows. Th anks for their efforts. Here is a sampling of many of the awesome moments of Spring 2006. Hop on the Mule train and enjoy!!!!!! !!!!!!!! Disc 1 76:55 01. Trane 8:49 4-15-06 02. Banks of the Deep End 6:23 4-15-06 03. Child Of The Earth 8:25 4-18-06 04. Time To Confess 9:23 4-18-06 05. Sugaree 12:22 4-18-06 06. Watchtower* 10:53 4-19-06 07. No Need To Suffer 8:30 4-20-06 08. Lively Up Yourself 11:37 4-20-06 Disc 2 78:53 01. Low Spark Of High Heeled Boys** 13:41 4-20-06 02. Can't You See** 15:40 4-20-06 03. How Many More Years 9:41 4-23-06 04. A Million Miles From Yesterday 4:14 4-25-06 05. Temporary Saint 6:47 4-45-06 06. Don't Step on the Grass Sam 7:56 4-26-06 07. Time to Confess 8:28 4-26-06 08. I'm a Ram 6:39 4-26-06 09. Love Me Do > 2:53 4-26-06 10. I'm a Ram 2:13 4-26-06 Disc 3 73:41 01. As Long As I Can See The Light 3:50 4-26-06 02. Empty Pages 6:04 4-27-06 03. I Shall Return 8:08 4-27-06 04. Don't let me be misunderstood 10:01 4-27-06 05. Soulshine (Reggae Style) 9:16 4-27-06 06. Presence of the Lord 5:23 4-30-06 07. Thorazine Shuffle 13:08 5-02-06 08. Lively up Yourself*** 10:55 5-02-06 09. Thirty Days in the Hole 3:18 5-02-06 10. I Don't Need No Doctor 2:58 5-02-06 * with Ron Holloway **with Dave Schools (no andy) and JoJo Herman on Keyboards ***With Bernie Worrell
Jon Dee Graham
Jon Dee Graham - Fitzgerald's, Berwyn, IL, Jul. 2, 2006, SBD
JON DEE GRAHAM AND THE FIGHTING COCKS FITZGERALD'S AMERICAN MUSIC FESTIVAL JULY 2, 2006 BERWYN, ILLINOIS I met up with the west coast boys in Chicago and we were treated to 4 nights of grea t music at Bill Fitzgerald's AMF in Berwyn. The venue, food, booze, people and music ians were all fantastic. One of the best times I've had in recent memory. Managed to record a few of the artists, and will start out with Jon Dee, who IMO is just incre dible. Special thanks to Briggs for convincing me to make the trip. Dedicated to PolkSaladSean. SOURCE: S/B>JB3>USB>CD WAV EDIT>FLAC>BT SETLIST(need some help) tie a knot swept away anymore remain something wonderful talk little star died of october talk change in me ? rosewood laredo ? airplane ? big sweet life
Green on Red
Green on Red - Knust, Hamburg, Germany, Jul. 19, 2006, FM
Green On Red - Knust, Hamburg, Germany, July 19th 2006, FM Broadcast, from master. Hello folks, i just received from our friend Crazy Mama this terrific recording he made from the radio.....this is a stunning show, so since he has no time to upload this over here, he asked to me if i could share this show with you, and, obviously i said yes....so a big thanks go to him for his hard job in making this torrent a reality.... Disc One : 1. That's What Dreams Were Made For 2. Easy Way Out 3. Hair Of The Dog 4. Cheap Wine 5. Jimmy Boy 6. Keep On Moving 7. Black River 8. 16 Ways 9. Time Ain't Nothing 10. Drifter 11. Sea Of Cortez Disc Two : 1. We Ain't Free 2. Ballad Of Guy Fawkes 3. This I Know > 4. Clarkesville 5. We Shall Overcome 6. Fading Away 7. Gravity Talks 8. Don't Shine Your Light FM Broadcast > Master cassette > Philips CD Recorder > Eac > wav > flac. Recorded by Crazy Mama Uploaded by 38f on Dime, September 2006 Artwork by Crazy Mama included.
David Grisman, Doc Watson and Jack Lawrence - First United Methodist Church, Boulder, CO, Nov. 3, 1989, SBD
Doc Watson, Jack Lawrence & David Grisman 11/03/89 First United Methodist Church Boulder, CO Source: SBD Master Cassette Nakamichi BX-100 Maxell MX by Alex Wise Transfers: To DAT by Andy Zaff 1994 To CD-R Panasonic SV-3700 > Tascam CD-RW 700 by Bill Koucky 2003 To Flac: Bill Koucky March 24, 2006 Disc 1 46:35 Set 1 01. Intro 02. Tuning / Doc Talk 03. Gimme Back My Fifteen Cents o4. Lay Me Down a Pallet On Your Floor 05. Dawg Intro 06. Stranger Blues 07. Instrumental 08. My Darlin' Corey Is Gone 09. Eastbound Freight Train 10. Watson Blues 11. Hard Times, Instrumental 12. The Girl I Left In Sunny Tennessee 13. Feast // Here Tonight (Rabbit In A Log) Disc 2 68:09 Set 2 01. Tunning 02. Brown's Ferry Blues 03. Jailhouse Blues 04. Instrumental 05. Blue Eyed Jane 06. Deep River Blues 07. Summertime 08. Sweet Georgia Brown 09. Blue Yodel 10 Miles To Deep Gap 11. Windy And Warm 12. Nine Pound Hammer, Keep On The Sunny Side Of Life, Bluegrass Breakdown 13. Doc Talk 14. Milk Cow Blues 15. Instrumental 16. Any Way You Want Me 17. Blue Suede Shoes>Tutti Frutti Encore: 18. Soldier's Joy 19. fade out... Notes: This Show is listed in db.etree as #50138. This is the same recording but fr om the original Alex Wise master cassette. This is a very crisp clear soundboard.
George Gruntz - Studio Charles Trenet, Radio France, Paris, Apr. 7, 2007, FM
George Gruntz Concert Jazz Band Studio Charles Trenet, Radio France, Paris, France April 7, 2007 http://www.eurojazz.ch/page/D-gg-jazz-band.html FM > WAV (Wavelab) > FLAC (frontend level 8) Jazz sur le Vif, France Musique, may 2, 2007 Comments by Xavier Pr
vost Cosmikd George Gruntz (piano, direction) Marvin Stamm (trumpet) Alexander Sipiagin (trumpet) Kenny Rampton (trumpet) Jack Walrath (trumpet) Gary Valente (trombone) Dave Bargeron (trombone, euphonium) Elliot Mason (trombone, bass trumpet) Earl McIntyre (bass trombone) Chris Hunter (alto sax) Sal Giorgianni (alto sax) Larry Schneider (tenor sax) Mark Turner (tenor sax) Howard Johnson (tuba, baritone sax, bass clarinet) Arie Volinez (double bass) Fran ois Laizeau (drums) 1. Bern Burn (Dave Bargeron) 4:51 2. So You Are (George Gruntz) 9:47 3. Intro 3:18 4. Duke Ellington's Sound of Love (Charles Mingus) 6:22 5. So What Serious Fun? (George Gruntz) 9:11 6. Intro 2:03 7. Son of Poetry of Wheels (George Gruntz) 4:41 8. Intro 1:48 9. I Mean You (Thelonious Monk) 9:11
Guru Guru - Radio Bremen, Sep. 21, 1971, FM
Guru Guru - Radio Bremen 21 Sept 1971 Pre FM A+ 01 Programme intro 02 Der LSD-Marsch 03 Bo Diddley 04 Spaceship CDR>Soundforge>dB PowerAmp music converter Like the Kraftwerk disc currently being torrented this recording came from the Radio Bremen archive. Judging by the programme intro the radio show was called Jazz Conc ert, presumably the Kraftwerk one came from the same radio series. Can anyone trans late the intro for us English speakers? The same info is given at the end of Spaces hip.
Arlo Guthrie - Bob Fass Show, NYC, 1966-1967
Arlo Guthrie 1 THE BOB FASS SHOW - WBAI-FM - NEW YORK CITY, NEW YORK - FEBRUARY 27, 1966 Alice's Restaurant Notes: Mono radio broadcast recording. A newly re-tooled "Alice's Restaurant" makes one of its earliest appearances on Pacifica radio. I have also seen this tape listed as dating from 2/27/6 7 which is certainly possible... In any event, this tape is highly recommended! 2 THE BOB FASS SHOW - WBAI-FM - NEW YORK CITY, NEW YORK - MAY 1967 Alice's Restaurant Multi-Colored Rainbow Roach Affair (Piano-backed version) Notes: Mono radio broadcast recording. Arlo joins host Fass and Ramblin' Jack Elliott for a freewheeli n' late night session on Pacifica radio. Recommended! I d/l these two tracks from usenet. I believe that they may be identified as above. These details were obtained from http://www.arlo.net/registry/60s.shtml SIRMick
Arlo Guthrie - Gerdes Folk City, NYC, 1966
Arlo Guthrie - Orpheum Theater, Boston, MA, Feb. 26, 1976
ARLO GUTHRIE & SHENANDOAH * February 26, 1976 Thursday Orpheum Theatre, Boston, MA. Fred Harris for President Benefit Concert following set by Tom Paxton Audience Stereo Sony ECM-99A > Sony TC-152SD FOB, microphone hand-held Nakamichi MR-1 > Tascam DA-20 MKII > Philips CDR-775 Master Cassette > DAT > CD > EAC secure > FLAC Dolby B decoded, no processing or EQ Total Time <96> 105:18 Recorded and transferred by Steve Hopkins Disc One 46:28 01. Stealin<92> 3:51 02. Gypsy Davy 3:37 03. Ukulele Lady 3:47 04. Introduction 1:50 > 05. Fence Post Blues 3:18 06. Victor Jara 6:30 07. Presidential Rag 4:31 08. City Of New Orleans 6:03 09. Washington County 2:06 10. I<92>ve Just Seen A Face 2:32 11. Home Again * 3:12 12. Sweet Georgia Brown * 1:28 13. I Belong To You Forever * 3:43 Disc Two 58:50 01. Another Saturday Night * 3:18 02. Jesus Is Easy * 2:44 03. Because All Men Are Brothers * 0:44 > 04. Roll In My Sweet Baby's Arms * 1:51 > 05. Jambalaya * 2:11 06. Motorcycle Song 6:57 07. Me And My Goose 3:38 08. Massachusetts 3:07 09. Carry Me Over 3:02 > 10. I Want To Be Around 3:30 11. Reuben Ramzo And His Weird Daughter 4:15 12. Tumbling Tumbleweeds 2:10 13. /Connection (cut in) 3:05 14. Coming Into Los Angeles 4:18 15. The Meeting At The Building Soon Be Over 3:27 16. You Ain't Goin' Nowhere 2:28 17. Okie From Muskogee 4:01 ---Fred Harris speech omitted--- 18. This Land Is Your Land 4:04 Arlo Guthrie - guitar, piano, vocals David Grover - lead guitar, vocals Terry "A La Berry" Hall - drums, vocals David Karin - rhythm guitar, vocals Dan Velika - bass, vocals http://db.etree.org/lookup_show.php?shows_key=197935 PLEASE DO NOT BUY OR SELL THIS RECORDING FOR FREE TRADE ONLY - SHARE THE MUSIC
Arlo Guthrie - Valley Forge Music Fair, Devon, PA, Aug. 15, 1983
Arlo Guthrie Valley Forge Music Fair Devon, Pennsylvania August 15, 1983 Source: 1st Generation Cassette Nakamichi 300's > Sony D5 FOB Recorded by Steve Adl eman Transfer: Nakamichi BX-100 > Audiophile 2496 > @ 24 Bit to WaveLab > 16 Bit > CD Wave > EAC > Flac May 12, 2006 Transfers by Bill Koucky Disc 1 45:41 1. Mr. Tambourine Man 2. City Of New Orleans 3. This Old man 4. President Carter's Song 5. Chaging My Name To Crysler 6. Oh Mom 7. Motorcycle Song 8. Please Don't Talk About Me When I'm Gone Disc 2 39:31 1. Woopie Tye Yee Yo 2. Alice's Restaurant 3. Coming Into Los Angeles Notes: Incomplete. First Set Was with David Bromberg
Arlo Guthrie - Crafts Fair, Gaithersburg, MD, Oct. 17, 1987
Arlo Guthrie Crafts Fair Gaithersburg, Maryland October 17, 1987 Source: 1st Generation Cassette Sennheiser 441 > Sony D5 FOB Recorded by Steve Adle man Transfer: Nakamichi BX-100 > Audiophile 2496 > @ 24 Bit to WaveLab > 16 Bit > CD Wave > EAC > Flac May 7, 2006 Transfers by Bill Koucky 1st Set 63:18 1. Promenade In Green 2. Freight Train 3. Key To The Highway 4. Arlo goofing around on the keyboards 5. SF Bay Blues 6. Inch By Inch, Row By Row 7. Coming Into Los Angeles 8. Mr. Tambourine Man 9. Banter 10. Instrumental 11. Ground Hog 12. Child Of The 80's 13. "Life gets weirder" 14. Telephone Song 15. Darkest Hour
Arlo Guthrie - Crafts Fair, Gaithersburg, MD, Oct. 14, 1990
Arlo Guthrie Crafts Fair Gaithersburg, Maryland October 14, 1990 Source: 1st Generation Cassette Beyers 160's > Sony D5 FOB Recorded by Steve Adlema n Transfer: Nakamichi BX-100 > Audiophile 2496 > @ 24 Bit to WaveLab > 16 Bit > CD Wave > EAC > Flac May 9, 2006 Transfers by Bill Koucky Early Set 11:00 am 46:08 1. Gates Of Eden 2. When The Ship Comes IN 3. Promenade In Green 4. Stealin' 5. Garden Song 6. Arlo talks about songs 7. Darkest Hour 8. Arlo talks about Dylan 9. Hour When The Ship Comes In 10. Arlo talks about dreams 11. Keep The Dream Alive Late Set 3:00 pm 42:44 1. Mr. Tambourine Man 2. Ukulele Lady 3. Oklahoma Hills 4. Key To The Highway 5. Motorcycle Song 6. Working Man 7. ? 8. When A Soldier Makes It Home 9. City Of New Orleans
Arlo Guthrie - Newburyport, MA, Feb. 14, 2004
Arlo Guthrie Newburyport,MA February 14,2004 disc 1 1. Chillin of the Evening 2. Won't Be Long 3. Dead or Alive 4. Gypsy Davy 5. St. James Infirmary 6. Motorcycle Song 7. Mooses Come Walking 8. Moon Song 9. Portland Town disc 2 1. Freight Train 2. When A Soldier Makes It Home 3. Wake Up Dead 4. Haleiwa Blues 5. When the Ship Comes In 6. Patriot's Dream 7. City of New Orleans/Avoiding Alice 8. Banjo Playin or Not 9. This Land Is Your Land 10. Highway In the Wind
Arlo Guthrie - Massey Hall, Toronto, Ontario, May 9, 2006
Arlo Guthrie 2006-05-09 Massey Hall Toronto, ON Set I Riding Down The Canyon Mr. Tambourine Man St. James Infirmary Darkest Hour Haliewa Farewell Slow Boat St. Louis Tickle Me & My Goose c. Comin' Into Los Angeles Green Rocky Road Set II Red Haired Boy Alice's Restaurant Remarks about times we live in Times Like These Back By Popular Demand Patriot's Dream City Of New Orleans Motorcycle Song This Land Is Your Land ENCORE: My Peace Good Night Irene DPA 4061> DPA MSP 6010> Zefiro Inbox> Sony PCM-M1 Sony SDT 9000> DatXtract> Audacity> MacFLAC
Arlo Guthrie - Belladrun "Tartan Heart" Festival, Aug. 12, 2006, FM
Arlo Guthrie: live at the Belladrun 'Tartan Heart' Festival 12th August 2006. Programmme: Anderson BBC Radio Scotland FM. Recorded Time:30Minutes 29Seconds. File size:223MB. Lineage:FM tuner-Cooledit-Flac frontend(compression 6). leex100. Like most BBC Broadcast material from live events the set is I think abbreviated. Concert set - Arlo Guthrie recorded at the Belladrum Tartan Heart Festival on Saturday the 12th Au gust Mr Tambourine Man, Darkest Hour, St James Infirmary , Coming into Los Angeles, City of New Orleans , In Times Like these, Highway in the Wind. Arlo Guthrie- vocals, guitar Gordon Titcomb- mandoline, pedal steel Abe Guthrie- keyboards Krishna Guthrie- drums Taxi TA.
Buddy Guy and Junior Wells - Cotati Cabaret, Cotati, CA, Sep. 20, 1984, SBD
Junior Wells and Buddy Guy What Happened to My Cognac? Cotati Caberet 9/20/84. I Can<92>t Help Myself Rock Me Baby Stop Breaking Down I Feel Good Good Morning Little School Girl/Howling for My Darling Ain<92>t No Need to Go No Further Slow Blues Got My Mojo Working Messin<92> With the Kid sorry, no artwork. ???>my cdr>wav>flac level 6 SBD? A raucous, meandering show. It may be from a radio broadcast. But I doubt that it w ould have been broadcast even in the California bay area with the colorful language i ncluded here. Got it in a trade a long time ago. Enjoy.
Buddy Guy - Estival Jazz, Lugano, Switzerland, Jul. 12, 2002, SBD
A SwissBird , SimplexSimplicissimus & superMAX release : Buddy Guy Estival Jazz Piazza Della Riforma, Lugano, Switzerland 12. July 2002 Soundboard > DAT > 1st copy > eac > wave > flac frontend (align on sector boundaries Level 8) > torrent on www.dimeadozen.org Size : 325 MB (incl. Artwork) Setlist : 01. I`ve Got My Mojo Workin` [4:34] 02. Five Long Years [8:38] 03. Damn Right, I`ve The Blues [6:40] 04. Hoochie Coochie Man [6:38] 05. Boom Boom [2:04] 06. Drowning On Dry Land [7:44] 07. Feels Like Rain [5:19] 08. Tramp [12:17] 09. Done Got Old [6:51] Lineup : Buddy Guy - electric guitar, vocals Fred Blinkal - electric guitar Jason Myinihan - saxophone Anthony Zamagni - organ Orlando Wright - electric bass Jerry Porter - drums