BRUCE SPRINGSTEEN - MILWAUKEE 1975

March 26, 2013 – 4:36 am

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BRUCE  SPRINGSTEEN AND THE E STREET BAND
Somebody Tried to Blow Us Up Tonight [ER Archives via JEMS, 3CD]

Live at the Uptown Theater, Milwaukee, WI; October 2, 1975. Mix of audience and soundboard recordings.

If you are not a Bruce/E Street fan, this is probably not the place to start. The audience recording on Disc One can either turn you off or make you scratch your head and wonder what all the fuss is about. Those who think that this is going to be a dud can rest assured that Discs Two and Three are sourced from solid soundboards.

If you are a fan, then, this is a must-have!

Thanks to Wayne Darlington for JEMS and the ER Archives; to everyone involved in getting this out; and to fmcleanboots for sharing it at Dime and Jungleland.

Artwork by irm14278, posted at flickr.com - Thanks!

Uploader’s notes:

[Installment No. 6] is an upgrade to a soundboard classic: The Bomb Scare Show, Uptown Theater, Milwaukee, WI, October 2, 1975. Now is as good a time as any to explain how it is that ER Archives came to possess these superior copies of classic board tapes:

“I went bowling one cold evening at the Erlton Bowl and Lounge in Cherry Hill, NJ, December 22, 1973. Rolled a few frames and stepped into Uncle Al’s Theatre Lounge attached to the alley for a few beers. A sparse crowd was there and the small stage was stuffed with a gaggle of musicians readying to play. It was Bruce Springsteen and the E Street Band.

They played to the assembled few and absofuckinglutely blew us away! I immediately planned an excursion over to the Main Point since that was where they were playing next, nearby. That experience cemented my opinion that this was the next great rock band! After that I tried to see them at every opportunity: Le Garage on LBI, Tower Theater, Trenton War Memorial, Kutztown State, Painters Mill, all before the stadiums. Three or more times a week I was out at one venue or another seeing every show I could.

Along the way I met Ed Sciaky, WMMR DJ and kindred Bruce spirit. Eventually I visited his apartment in Philly off Lincoln Drive overlooking the Schuylkill River. I walked in and the place was wall-to-wall LPs: In the hall, the dining room, the living room, everywhere! We talked several times about getting good copies of Bruce’s live shows since Ed had them and about music, always music! Eventually, I convinced him to let me copy the Bruce shows he had.

Ed, being quite protective of Bruce and his live tape source, was reluctant, so I had restrictions: He gave me only one then two shows at a time and I had to have them back within 24 hours. So I copied the shows and got them back to him over the bridge and got another set to copy. I did this for close to a week - it was about all I did - and the end result was a rushed, but hopefully quality copy of about eight shows. I promised to keep them from the public, bootleg and commercial, for-profit distribution. I used only the best tape and copied from my Akai 4-track to my Tandberg stereo deck.”

Milwaukee and other soundboard recordings from the late Ed Sciaky have circulated for many years, and Sciaky’s collection seems to fall into two batches which we’ll call here for simplicity’s sake, early and late. The late batch includes some ‘78 boards, the early is all ‘76 or earlier. ER copied only the early batch and many years later, tapes from the late batch were copied from Ed’s reels to DAT by others. While some tapes from the early batch were also copied to DAT, not all of them were.

JEMS believes Milwaukee, along with the previously torrented Cleveland ‘76, and a few other ‘75 boards still to come from the ER Archive have never circulated from a known lineage and were never digitally transferred from Sciaky’s reels. We can’t state that definitively, but based on the research we’ve done it appears to be the case. So this copy of Milwaukee, we believe, is the lowest generation source ever transferred and torrented.

And to our ears it is a clear upgrade. Milwaukee has always been one of the better boards, but the clarity here, both in the high and low end, is striking. Compared to the previous best circulating copy, the new Milwaukee board transfer is lush and full, brighter and deeper in a way the old one never was. It has a true “you are there” quality.

Unfortunately the audience portion of the show is still crappy, but this copy should be better than you’ve heard it before. The start of the show isn’t cut as it is on other copies, and while it remains a poor recording, you can still make out what’s going on.

As for the Bomb Scare itself, the story has been told many times before so we’ll skip it here. If for some reason you don’t know the tale, Brucebase does a good job recapping the night: http://brucebase.wikispaces.com/1975#0210

The most famous performance from this night is Chuck Berry’s “Little Queenie,” which Brucebase justifiably calls “outrageous.” If you’ve never heard Bruce shout “are you loose?!” when it is patently obvious he is, you have a great piece of Springsteen live performance history to look forward to.

But while Milwaukee is indeed loose, it isn’t a sloppy show and in fact it boasts a couple of epic performances including a record-breaking “E Street Shuffle” that, with its long intro, clocks in at well over 20 mins, plus a “Kitty’s Back” that is nearly as long. Two other great covers, a breakneck “Sha La La” and one of the earliest “Detroit Medley”s, provide additional highlights. And if you’re a Little Stephen fan (and who the fuck isn’t?), you’re going to love this mix, as his guitar and voice are high in it, which helps make this an especially fine night for “Saint in the City,” too.

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Lineage:
Audience Recording (equipment unknown)
Soundboard Recording (equipment unknown)
JEMS Transfer: very likely 2nd generation reel to reel tapes > Otari 5050mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX click repair > Peak 6.0 with iZotope Ozone 5.0 (speed correction) > resample 16/44.1 > FLAC

Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Disc 1 (Audience Recording)
Track 101. Meeting Across the River (6.6MB)
Track 102. Tenth Avenue Freeze-out (6.3MB)
Track 103. Spirit in the Night (11.6MB)
Track 104. Pretty Flamingo (15.6MB)
Track 105. She’s the One (8.8MB)
Track 106. Born to Run (8.2MB)
Track 107. Thunder Road (9.9MB)
Track 108. Bomb Scare (1.7MB)

Remainder of show from soundboard recording
Disc 2
Track 201. Little Queenie (14.6MB)
Track 202. The E Street Shuffle/Havin’ a Party (40.3MB)
Track 203. Saint in the City (9.4MB)
Track 204. Sha La La (5.7MB)
Track 205. Kitty’s Back (30.3MB)

Disc 3
Track 301. Jungleland (17.2MB)
Track 302. Intro (to Rosalita) (3.0MB)
Track 303. Rosalita (18.7MB)
Track 304. Detroit Medley (8.0MB)
Track 305. Sandy (12.6MB)
Track 306. Quarter to Three (14.3MB)

Click here to order Bruce Springsteen releases.

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ONLY MAKE BELIEVE

March 25, 2013 – 4:33 am

The real aural wallpaper.

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GLASGOW IMPROVISERS ORCHESTRA
Play George Lewis and Jim O’Rourke [no label, 1CD]

Live at the Centre for Contemporary Arts, Glasgow, UK; December 1, 2012 and broadcast on BBC Jazz on 3, February 18, 2013. Ex FM stereo.

” ‘Trade shoes with the person on your right’ and ‘Play in the style that would be appropriate to accompany a belly dance’ - not the usual sorts of instructions to give to a big band, but Glasgow Improvisers Orchestra were certainly up to the challenges presented by Jim O’Rourke’s specially commissioned piece.

“The work was one of two new commissions by American composers premiered at the fifth edition of GIO’s annual festival. Celebrating their 10th anniversary, the orchestra’s ever-ambitious and outward-looking approach comes across in these specially composed pieces by two stalwarts of Chicago’s rich avant-garde tradition.

“Guest conductor and trombone player George Lewis first presents Tractatus - a detailed score exploring the difference between ‘artistic’ and ‘everyday’ improvisation, a distinction he explains in conversation with interviewer Brian Morton. The second commission - sent by Jim O’Rourke from his current home of Tokyo - is very different, consisting of two decks of playing cards on which are written instructions for the various members of the orchestra. The directions prompt - in the words of saxophonist and founding GIO leader Raymond MacDonald - a ‘negotiation between the individual and what’s written on the card’ and produced an exciting and unusual performance from the group. Listen out for shoes in the piano, manic trumpet fanfares, an impromptu round of drinks and a short lecture on haggis!”

- More info here BBC Jazz on 3 (click here)

The above description of Jim O’Rourke’s “composition” fits nicely with the style and works of Englishman Cornelius Cardew from 50 years ago. Cardew is best remembered for his Treatise (1963-67), a 193-page graphic score, where the music was written and drawn and it was up to the musicians to interpret. The analogy is with cooking. Imagine, not the finished dish, but the process of preparing the food, the chopping, the grinding, the boiling, the frying. The “graphic score” describes the music in words and pictures. Musicians are invited to interpret that score. The fascination, like the process of preparing a dish, is in watching them at work, blowing, fiddling, scratching, banging and so on.

Lewis’ improvisation is equally challenging. All the instruments strive to produce sounds that hover and linger like aural wall paper. This wall of sound can be both intimidating and beautiful.

In the end, Cornelius Cardew withdrew from avant garde music finding it meaningless. He spent the ’70s composing folk songs for socialist causes instead. A one-time assistant to composer Karlheinz Stockhausen, Cardew took the step to denouce his mentor with his 1974 book, Stockhausen Serves Imperialism.

Avant garde music has not died. O’Rourke now lives in Tokyo, a city that tolerates the untidy world of musicians and artists. Avant garde music is always spur of the moment, inspired and brief. Should it ever be influential, powerful and win a large audience, then the men will sit up, take notes and decide what to do with it.

Thanks to TomP for sharing at DIME and Fastone for the always excellent artworks.
- Professor Red 

Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Track 01. Intro and Interviews 13:30 (19.4MB)
Tractatus (George Lewis) 30:10*
Track 02. Part 1 (21.7MB)
Track 03. Part 2 (11.5MB)
Track 04. Part 3 (5.9MB)
Track 05. Part 4 (11.5MB)
Some I Know, Some I Don’t (Jim O’Rourke) 29:00*
Track 06. Part 1 (14.7MB)
Track 07. Part 2 (12.9MB)
Track 08. Part 3 (13.0MB)
Track 09. Part 4 (8.2MB)

* Arbitrarily split here for easier access.

TomP says: “Track 01 is edited to combine all the talk and can be seamlessly omitted if not wanted, although for once it is worth listening to, if only to hear why there is a lecture on haggis during the performance! Never thought you’d hear that, huh?”

Lineup - as on the BBC web page

Una MacGlone - double bass
Raymond MacDonald - saxophone
Gerry Rossi - piano
Nicole McNeilly - trombone
Emma Roche - flute
Rick Bamford - drums
Robert Henderson - trumpet

Graeme Wilson - saxophone
Neil Davidson - guitar
George Burt - guitar
Peter Nicholson - cello
George Murray - trombone
Liene Rozite - flute
Nicola MacDonald - melodica/voice

George Lyle - double bass
Armin Sturm - double bass
Stuart Brown - drums/percussion
Aileen Campbell - voice
Fergus Kerr - french horn
Anne Rankin - oboe
Jim McEwan - keyboards

Matthew Studdert-Kennedy - flute
Catriona McKay - harp
George Lewis - trombone
Maggie Nicols - voice

Sue McKenzie - saxophone

The Glasgow Improvisers Orchestra are a recording unit but with small, independent labels. Their recent recordings from last year include a teamup with Swiss Barry Guy to record the album Schweben - Ay, But Can Ye? Order  Schweben - Ay, But Can Ye? here.

The other 2012 release was Improcherto (For HB) By George Burt with Lol Coxhill and Evan Parker. You can buy the digital download here.

Their recordings are all live recordings.

We would also like to recommend Cornelius Cardew’s Consciously from 2007. This is avant garde artist Cardew’s “folk album”. It’s a compilation of his ’70s recordings. Buy it here.

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FLYING BURRITO BROTHERS - SEATTLE POP FESTIVAL 1969

March 24, 2013 – 4:45 am

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FLYING BURRITO BROTHERS
Seattle Pop Festival 1969 [no label, 1CD]

Live at the Seattle Pop Festival, Woodinville, WA; June 27, 1969. Live at Wynona, MN; May 1970. Good to very good soundboard?

Thanks to the person who shared this on the net in 2005.

Here are some comments posted at bbchron.blogspot:

This is a well-travelled bootleg release that combines two shows together, the first is the full show from the Seattle Pop Festival in July 1969, and featuring the original lineup (with Gram parsons and Chris Ethridge). The second part are some tracks from a show in Wynona, MN in May 1970. By this time, Chris Ethridge had left and was replaced by Bernie Leadon (with Chris Hillman shifting to bass and Bernie playing lead guitar).

Although Gram was still technically in the band at this point, he had become unreliable (due to lack of interest and discipline, and the start of his drug problem), not showing up, missing gigs, etc., and was not present at this show. Within the next month Gram would be officially booted from the band… For now, just sit back and enjoy these fine, early vintage FBB shows.

Uploader’s notes regarding the Seattle Pop tracks:
sbd > (not sure if it’s from the boot LP or source tape, there is no noticable LP artifact) > cass (?) > cd
There were pops at the beginning of every track, which I removed
cd > eac > cooledit pro 2.1 > shntool > mkw > shn

For the Wynona show:
sbd > ? > cd > eac > edit > shn

Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Track 01. Close Up the Honkytonks 2:37 (4.4MB)
Track 02. Dark End of the Street 3:52 (6.5MB)
Track 03. Sweet Mental Revenge 3:14 (5.4MB)
Track 04. The Image of Me 3:20 (5.6MB)
Track 05. Christine’s Tune 5:33 (9.3MB)
Track 06. Sin City 4:08 (6.9MB)
Track 07. Out of Control 2:45 (4.6MB)
Track 08. Wake Up Little Susie 3:10 (5.3MB)
Track 09. You Win Again 3:37 (6.1MB)
Track 10. Get Ourselves Together 3:43 (6.2MB)
Track 11. Just Because 5:27 (9.2MB)
Track 12. Dream Baby 2:53 (4.8MB)
Track 13. Lucille 2:36 (4.4MB)
Track 14. Take a Message to Mary 3:06 (5.2MB)
Track 15. Move Me on Down the Line 3:26 (5.8MB)

Lineup:
Michael Clarke - drums
“Sneeky” Pete Kleinow - steel guitar
Chris Etheridge - bass
Gram Parsons - guitar, vocals
Chris Hillman - guitar, vocals

Wynona, MN; May 1970
Track 16. Lazy Day 4:02 (6.8MB)
Track 17. 100 Years 3:08 (5.3MB)
Track 18. Burn the Draftcard 3:00 (5.1MB)
Track 19. High Fashion Queen 2:10 (3.6MB)
Track 20. Cody, Cody 3:02 (5.1MB)
Track 21. Wild Horses 6:21 (10.7MB)
Total: 75:09

Lineup:
Bernie Leadon - bass, vocals
Michael Clarke - drums
“Sneeky” Pete Kleinow - steel guitar
Chris Hillman - guitar, vocals

Click here to order Flying Burrito Brothers releases.

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ERIC CLAPTON - AUSTIN 2013

March 23, 2013 – 4:33 am

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ERIC CLAPTON
Austin 2013 [no label, 2CD]

Live at the Frank Erwin Center, Austin, TX; March 17, 2013. Good to very good audience recording.

For those who are trying to keep track, this is the third show from Eric Clapton’s 2013 50th Anniversary Tour.

Thanks to seedy who recorded the show and to doodahmon for sharing it at Dime. Thanks also to wharfie and austaper for the photos; and to ethiessen1 for the artwork.

Here is an excerpt of the review David Fricke wrote at Rolling Stone:

Eric Clapton’s March 17th concert in Austin, Texas – the third date on his latest North American tour – was a career overview that covered all of his major turning points as a guitarist and most of his commercial successes: Cream, Derek and the Dominos, the Seventies solo hits and his matured resurgence in the Nineties with the MTV Unplugged performance and album. But the long heart of this two-hour show at the Frank Erwin Center was four songs associated with the pioneering, star-crossed Mississippi bluesman who set Clapton on his path, Robert Johnson.

Deep into the set list, after a seated, acoustic stretch that included Clapton’s 1977 ballad “Wonderful Tonight” and his down-gear Unplugged rearrangement of the Dominos’ “Layla,” Clapton strapped on a Stratocaster and pulled the trigger on Johnson’s “Stones in My Passway,” quoting his own Cream-era riff from Johnson’s “Crossroads” but with more Delta syntax. “Love in Vain,” best known in the Rolling Stones’ plaintive 1969 recording, was taken as a crisp electric shuffle, followed by “Crossroads” itself, with Clapton - who long abandoned the supercharged Les Paul-guitar tone of the Cream adaption - soloing with a spiked, treble attack closer to the one he first turned to in the Dominos. The homage to Johnson concluded with a fixture of recent Clapton tours, “Little Queen of Spades.”

Click here for the full write-up.

Lineage:
16bit/44.1kHz. Recording Info: Audience->Sonic DSM-6S/L->Sonic PA-3SX->Sony PCM-M10->tracked with cdwav->tagged with Mp3tag v2.50->Traders Little Helper-Dime 2013-03-20->recorded by seedy
Location: section 46 row 21

Click on the highlighted tracks to download the MP3s (192 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Disc 1
Track 101. Hello Old Friend (6.6MB)
Track 102. My Father’s Eyes (7.9MB)
Track 103. Tell The Truth (9.2MB)
Track 104. Gotta Get Over (6.9MB)
Track 105. Black Cat Bone (7.3MB)
Track 106. Got To Get Better In A Little While (10.7MB)
Track 107. Tempted (featuring - Paul Carrack) (7.6MB)
Track 108. I Shot The Sheriff (10.7MB)
Track 109. Driftin’ (7.8MB)
Track 110. Lay Down Sally (6.9MB)

Disc 2
Track 201. Tears In Heaven (6.7MB)
Track 202. Wonderful Tonight (5.7MB)
Track 203. Layla (10.0MB)
Track 204. How Long (featuring Paul Carrack) (7.8MB)
Track 205. Stones In My Passway (6.5MB)
Track 206. Love In Vain (6.0MB)
Track 207. Crossroads (7.2MB)
Track 208. Little Queen of Spades (14.8MB)
Track 209. Cocaine (9.4MB)
Encore:
Track 210. Sunshine Of Your Love (9.0MB)
Track 211. High Time We Went (featuring Paul Carrack) (7.5MB)

Lineup:
Eric Clapton - guitar, vocals
Doyle Bramhall II - guitar
Greg Leisz - pedal steel guitar
Willie Weeks - bass
Chris Stainton - keyboards
Paul Carrack - keyboards
Steve Jordan - drums
Sharon White - backing vocals
Michelle John - backing vocals

To tie in with Eric Clapton’s 50 years in the music business, he has just released Old Sock, his 20th studio album, with guests including Steve Winwood, JJ Cale and Paul McCartney. Click here to order the album.

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JOHN ZORN’S BLADERUNNER - LONDON 2000

March 22, 2013 – 4:47 am

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JOHN ZORN’S BLADERUNNER
London 2000 [no label, 1CD]

Live at the Barbican, London, UK; July 3, 2000 (this has also been shared as July 30, 2000). Very good to excellent audience recording.

Thanks to abbcccus for keeping the show alive at Dime.

The following extract/review by John Fordham appeared in The Guardian, July 6, 2000. Tip of the hat to Alastair Wilson at zornithology.com.

When John Zorn, the volcanically productive new-music alchemist, picked up his alto sax at the Barbican this week, the audience braced itself for a ride to the brink of migraine. The American saxophonist and composer had appeared on this stage twice in the previous nine months. But while those occasions featured first chamber music, then a blend of jazz and traditional Jewish music, this time Zorn brought a heavyweight improvising band featuring former Henry Cow guitarist Fred Frith, drummer David Lombardo and bassist Bill Laswell.

Lombardo’s sinister tappings heightened expectations at the opening, and sure enough Zorn opened with probably the loudest and longest overblown alto-sax note heard on that stage. The pieces were urgent and succinct, frequently winding up on abrupt crash-stops or circituitous but logical decelerations.

With barely perceptible nods and gestures, Zorn determined who payed with whom, and when. While some improv purists might describe this as cheating, the framework kept the audience insured against everything that Zorn and Frith cold hurl at it. Nor was it all white-heat improvising. A scrambled, lopsidedly swinging Frith intro brought Zorn to a spine-tingling sax lament, which ended in a trance-like fluttering of the instrument’s pads alone. A whirling, repeated Ornette Coleman-like figure brought an exquisite solo of glinting sounds from Frith.

A barrage of squalling between Frith and Zorn gaveway to an episode of movie soundtrack atmospherics between Laswell and Lombardo. Zorn made a motorbike sound way below the alto’s range and Frith detuned to follow him, but then the saxophonist turned to breezy, dancing figures. It was fluid, restless, wild, and rich in contrast. The audience reaction was ecstatic, despite the mugging of its eardrums by Zorn’s ferocious music.

Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Track 01. Untitled (21.3MB)
Track 02. Untitled (24.9MB)
Track 03. Untitled (16.1MB)
Track 04. Untitled (6.4MB)
Track 05. Untitled (12.0MB)
Track 06. Untitled (10.5MB)
Track 07. Untitled (1.8MB)
Track 08. Untitled (19.6MB)
Track 09. Untitled (11.9MB)

Lineup:
John Zorn – sax
Bill Laswell – bass
Fred Frith – guitar
Dave Lombardo – drums

Click here to order John Zorn releases.

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YES - IN THE BEGINNING (PETER BANKS R.I.P. 1947-2013)

March 21, 2013 – 4:47 am

PETER BANKS R.I.P. 1947-2013

A post on Peter Banks’ official website read: “It’s with great sadness to have to report the death of Peter Banks. He died in his London home on March 8, 2013. Thanks for all the music Peter!” He was 65. Banks was the original guitarist of British progressive rock band Yes. He played on two albums (Yes and Time And A Word) with the group before pursuing his own band Flash, and a solo career which included a guest spot on Lionel Richie’s hit Hello. Prog magazine editor Jerry Ewing said: “He’s very much part of the history and the legacy of progressive rock.” Banks died from heart failure. The BBC reported that he was found at his home after not turning up to a recording studio. He was working on a live Flash album called Flash - In Public.

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Click on the panels for a better view or to download artwork.

YES
In The Beginning [Highland HL055#Y12, 1CD]

Disc 1: Live in Hamburg 1969; Essen 1969 and Sheffield 1969. Fair to good audience recording. Some might find it rough. “Bonus” Disc 2: Flash, live in Long Island 1972. Good to fairly good audience recording.

This is for those looking for some Peter Banks’ recordings.

Thanks to Pablodrums who originally shared the Yes tracks in 2007 and to tempusfugit for keeping the show alive.

A special word of thanks to TheTooleMan for sharing the Flash show at Dime.

Click on the highlighted tracks to download the MP3s (320 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Disc 1
Grugahalle, Essen, Germany; October 09, 1969
Track 01. Introduction (3.2MB)
Track 02. No Opportunity Necessary, No Experience Needed (4.9MB)
Track 03. Dear Father (8.8MB)
Track 04. Every Little Thing (9.0MB)
Track 05. Something’s Coming (12.6MB)

Star Club, Hamburg, Germany; August 20, 1969
Track 06. Eleanor Rigby (6.9MB)

Kingston Hotel, Sheffield, UK; December 21, 1969
Track 07. Dear Father (8.3MB)
Track 08. Eleanor Rigby (4.9MB)
Track 09. I See You (30.7MB)

Lineup:
Jon Anderson - lead vocals
Peter Banks - guitar, vocals
Chris Squire - bass, vocals
Tony Kaye - organ, piano
Bill Bruford - drums, percussion

Lineage:
CDR Trade > EAC (wav) > FLAC Frontend encode level 8

Disc 2 is no longer available for sharing.

Disc 2
My Father’s Place, Long Island, NY; August 1972
Track 01. Small Beginnings
Track 02. Black And White
Track 03. There No More
Track 04. Monday Morning Eyes
Track 05. Children Of The Universe
Track 06. Lifetime

Lineup:
Peter Banks - lead guitar
Colin Carter - lead vocals, tambourine
Ray Bennett - bass, backing vocals
Mike Hough - drums

Lineage:
Unknown tape gen copy > Philips stand-alone burner > EAC > WAV > adobe audition > flac [6]

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UPDATE: JUNE 29, 2013

Here is a note from the Peter Banks Estate:

After reading your March 21st on the passing of Peter Banks I wanted to let you know the Live Flash CD “In Public” is completed and will be released in the fall.

Which is why I am emailing , it has been brought to our attention that your site is allowing the downloads of a very poorly recorded Flash Live concert which as now made its way to eBay.

We would hope you would do the right thing by removing the links

I hope you understand

George “TheMiz”  Mizer
Peter Banks Estate

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THIN LIZZY - LONDON 1981

March 20, 2013 – 5:37 pm

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THIN LIZZY
London 1981 [Hot Line Music, 2CD]

Renegade Tour. Live at the Hammersmith Odeon, London, UK; November 26, 1981 (aka “Drugs & Booze”). Good to very good audience recording.

In the run-up to last year’s US presidential elections, Thin Lizzy got into the limelight when guitarist Scott Gorham hit out at the Republican party when they used the group’s The Boys Are Back In Town as the intro music for Paul Ryan at their National Convention.

But Thin Lizzy fans are probably more excited by news of a new “Thin Lizzy” album. Following the death in 1986 of Thin Lizzy’s frontman, Phil Lynott, Gorham has continued playing with the surviving members and even went on to record a new album with the recent lineup of the group. In September 2012, Gorham was quoted as saying “We are all excited about the new record but especially Ricky and Damon, they just can’t wait to start recording!” It would be the band’s first output in 29 years and the first without Lynott.

The album, All Hell Breaks Loose, from Nuclear Blast, has a street date of May 2013 but will be released under the name of Black Star Riders. According to Gorham, this was “out of respect to Phil Lynott and the legacy he created”, though he confirmed that the new material would feature the classic Thin Lizzy sound.

Meanwhile, here’s a 1981 show featuring Phil Lynott and guitarist Snowy White.

Thanks to paprick who shared the tracks at Dime.

paprick noted: “The second disc is filled with (the) 1978-03-29 Rainbow show but I omitted that because it is commercially available on (the) Live and Dangerous DVD.”

Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Disc 1
Track 101. Angel Of Death (10.5MB)
Track 102. Renegade (9.2MB)
Track 103. Hollywood (7.4MB)
Track 104. Waiting For An Alibi (5.2MB)
Track 105. Jailbreak (6.3MB)
Track 106. Got To Give It Up (11.6MB)
Track 107. Don´t Believe A Word (11.4MB)
Track 108. The Pressure Will Blow (5.8MB)
Track 109. Cowboy Song (7.2MB)
Track 110. The Boys Are Back In Town (7.0MB)
Track 111. Suicide (7.5MB)
Track 112. Bad Reputation (8.3MB)
Track 113. Are You Ready (14.5MB)

Disc 2
Track 201. Baby Drives Me Crazy (13.6MB)
Track 202. Emerald (6.6MB)
Track 203. Rosalie (11.1MB)

Lineup:
Phil Lynott - bass, vocals
Snowy White - guitar
Scott Gorham - guitar
Brian Downey - drums
Darren Wharton - keyboards

Click here to order Thin Lizzy’s Renegade album.

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KEVIN AYERS & THE WIZARDS OF TWIDDLY - GERMANY 1995

March 19, 2013 – 8:38 am


Kevin Ayers R.I.P. 1944-2013

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KEVIN AYERS & THE WIZARDS OF TWIDDLY
Solingen 1995 [MWM 00305/6, 2CD]

Live at the Cobra, Solingen, Germany; October 24, 1995. The Complete Night. First time out of the “deafmusic” Archive. Excellent digital soundboard master.

Thanks to lonetaper, and to everyone who had a part in this, for sharing these tracks at Dime.
Mixed, recorded, stored and transferred, dropbox-ed by deafmusic (all thanks go to him…), torrent completely prepared and first uploaded by Frizze & Leo on DIME, March 18, 2013. This is “MWM 00305 + 00306″.

Uploader’s notes:

The question ‘why isn’t Kevin Ayers an almighty star?’ is up there with ‘how did the universe begin?
- Record Collector

Kevin Ayers’ talent is so acute you could perform major eye surgery with it.
- John Peel

Kevin Ayers possessed a voice like no other, intrinsically British and full of whimsy and mischief. This latter quality animated much of his life as well as his music… A man often beset by his own insecurities, Kevin passed away on February 18, seemingly in his sleep, at the age of 68 at his home in France, a country with which he had developed a deep association. He will be greatly missed by all those who knew him, and those who lost themselves in his wondrous music.
- Mojo Magazine

“One further significant and hugely enjoyable release would be ‘Turn The Lights Down’ – 2000 issue of Kevin’s gig with the Wizards of Twiddly in Brentford in 1995. In addition to being a showcase of Ayers ‘greatest hits’, the set is the only recorded evidence of an (almost) unadulterated live set from an artist whose charisma as a continuing live performer is rarely given the credence it merits. Moreover, the twelve month liaison with Liverpool’s Wizards illustrates the respect that a whole generation of younger musicians owe to Kevin Ayers - his music has been a catalyst that bridges time and culture…”

Lineage:
SBD desk: Soundcraft Venue II Theatre 24>8>2 recorded from subgroup > adapter XLRs to XLRs > Tascam DA-30markII with 16 Bit/48 kHz > Maxell 90m/2GB data cartridge master

PLAYBACK: Maxell DAT master > Fostex D-5 studio recorder > high end digital cable > Studio PC pro soundcard with 16 Bit/48 kHz > Creative Wave Studio >

WAV 16bit/48Khz > Ozone5 and more > complete mastering, normalizing > iZotope Ozone5 SRC & MBIT+ Dither > WAV 16bit/44.1 Khz > Exact Audio Copy (WAV files check) > Traders Little Helper 2.7.0 Sector Boundaries aligned, level 6 encoding > FLAC

Click on the highlighted tracks to download the MP3s (320 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Visit Dime here for the lossless flacs.

Disc 1
Set One: Prélude
Wizards Of Twiddly [all songs by Wizards Of Twiddly]

Track 101. tuning and introduction 2:44.27 (6.6MB)
Track 102. The Great Unwashed 3:29.58 (8.4MB)
Track 103. Kaleidoscope City 2:51.61 (6.9MB)
Track 104. We Are Not Free 3:02.42 (7.3MB)
Track 105. Cardboard Banjo 2:49.42 (6.8MB)
Track 106. Jazz Ian 5:17.40 (12.7MB)
Track 107. Simon’s little announcement 0:44.00 (1.8MB)
Track 108. Large Geographical Features 3:58.03 (9.5MB)
Track 109. Sounds Of Success 3:12.39 (7.7MB)
Track 110. Anti Tank Tank (instrumental) 2:26.49 (5.9MB)
Track 111. Man Made Self 4:03.22 (9.7MB)
Track 112. Adverse Camber (instrumental) % 8:57.14 (21.5MB)
Track 113. I Will Live Forever $ 3:55.37 (9.4MB)
Track 114. Just Above Your Thing 3:44.09 (9.0MB)
Track 115. Hooverman 4:19.37 (10.4MB)
Track 116. Bless This Tank (instrumental)/final crowd noise 3:38.35 (8.7MB)
59:14.65

Disc 2
Set Two: Acte Principal
Kevin Ayers & the Wizards Of Twiddly [all songs by Kevin Ayers]

Track 201. There Goes Johnny § 9:49.60 (23.6MB)
Track 202. See You Later 0:38.45 (1.5MB)
Track 203. Didn’t Feel Lonely ‘Till I Thought Of You 4:37.59 (11.1MB)
Track 204. When Your Parents Go To Sleep 4:54.04 (11.8MB)
Track 205. short interlude 0:21.14 (853k)
Track 206. Everybody’s Sometime And Some People’s All The Time Blues 4:47.28 (11.5MB)
Track 207. Lady Rachel 10:44.22 (25.8MB)
Track 208. Super Salesman 8:59.05 (21.6MB)
Track 209. May I? 5:47.09 (13.9MB)
Track 210. Interview 8:54.29 (21.4MB)
Track 211. crowd noise 1:26.09 (3.4MB)
encore 1:
Track 212. Why Are We Sleeping? 9:16.24 (22.3MB)
Track 213. crowd freaks out 2:39.03 (6.4MB)
encore 2:
Track 214. Stranger In Blue Suede Shoes/final crowd noise 4:23.24 (10.5MB)
77:18.35

More notes:
[] - indicates the original writer/composer

% - not definitely sure if the track here is just ONE instrumental, but as the “flow” works for over 8 minutes, i left it this way…as the Canadian poet Neil Percival Young once said: “It’s all ONE song…” If you know the correct other song title(s), share them with us in the comment section and maybe i’ll find the time to change the artwork…

$ - song title is just a guess (but a damn good one… imho… hahaha)

§ - Kevin was very talkative that night, and asked - as usual - after the first song here in Solingen: “…can you come a bit forward - and turn the lights down, too ?” … and THAT very special night the lord did what he was asked for: a total solar eclipse dimmed some parts of the earth:
http://en.wikipedia.org/wiki/..r_eclipse_of_October_24,_1995

The Musicians:
Carl Bowry - guitar, vocals
Andy Frizell - bass, alto saxophone, trombone, flute, vocals
Andy Delamere - drums, vocals
Simon James - flute, tenor saxophone, keyboards, vocals
Martin Smith - trumpet, flugelhorn, percussion, vocals

and Set Two (Disc Two) completely with:
Kevin Ayers - vocals, guitar

Click here to order Kevin Ayers’s releases.

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CREEDENCE CLEARWATER REVIVAL - FILLMORE WEST CLOSING NIGHT 1971

March 19, 2013 – 4:35 am

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CREEDENCE CLEARWATER REVIVAL
Fillmore West Closing Night 1971 [no label, 1CD]

Night 5 of Closing The Fillmore West Week. Live at Fillmore West, San Francisco, CA; July 4, 1971. Very good to excellent radio broadcast?

Before the last song, Keep On Chooglin’, John Fogerty said: “This is our three-year anniversary playing the Fillmore… The very first time was the 4th of July 1968 when we closed out the old Fillmore. A little later we closed the Avalon down… so we like to make a habit of showing up in the end.”

Thanks to grner1 who shared this in 2005.

grner1’s notes:

Lineage unknown but a lot of effort was made to locate the best possible circulating source. Probably from KSAN-FM broadcast… This version is completely unedited. A few minor dropouts and transient noises were removed with Pro Tools.

The following comments were made at Dime:

markbrow: “It’s a ‘71 direct-to-two-track SB recording.”

mrmagicmark: “Although this dead horse has been beaten already, I can’t resist confirming that this gig was introduced as “CCR’s debut as a trio”. I know because I was there that night!! (Dang, I’m old!!)”

wolfgangsvault.com noted:

With the exception of two obscurities - It Came Out Of The Sky and Door To Door - this set is overflowing with CCR’s most memorable hits, with material from their two strongest albums, Willy & The Poor Boys and Cosmo’s Factory, being heavily represented. One couldn’t wish for more from a Creedence set, and John Fogerty is in great form, playing all the guitar parts and belting out lyrics with both power and conviction.

And thanks to killerwolf13 for the artwork.

Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Track 01. intro before first song 1:48 (3.0MB)
Track 02. Born On The Bayou 5:23 (9.0MB)
Track 03. Green River 3:55 (6.6MB)
Track 04. It Came Out Of The Sky 3:32 (5.9MB)
Track 05. Door To Door 3:25 (5.7MB)
Track 06. Travelin’ Band 3:31 (5.9MB)
Track 07. Fortunate Son 2:21 (4.0MB)
Track 08. Commotion 4:13 (7.1MB)
Track 09. Lodi 4:02 (6.8MB)
Track 10. Bad Moon Rising 2:11 (3.7MB)
Track 11. KSAN station ID 0:07 (189k)
Track 12. Proud Mary 4:09 (7.0MB)
Track 13. Up Around The Bend 3:33 (6.0MB)
Track 14. Hey, Tonight 3:05 (5.2MB)
Track 15. Sweet Hitchhiker 3:22 (5.7MB)
Track 16. John Fogerty talks about Fillmore West closing night 0:33 (930k)
Track 17. Keep On Chooglin’ 9:53 (16.6MB)
Track 18. Bill Graham outro 0:49 (1.4MB)
59:7

Lineup:
John Fogerty - guitar, lead vocals
Stu Cook - bass
Doug Clifford - drums
(Tom Fogerty had left the band by February 1971.)

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THE VELVET UNDERGROUND - EVERYTHING YOU’VE HEARD ABOUT THE VELVET UNDERGROUND

March 18, 2013 – 4:28 am

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THE VELVET UNDERGROUND
Everything You’ve Heard About The Velvet Underground [VU333, originally released as a three-LP set, shared here on 2CD]

Demos, early recordings, outtakes, rehearsal and live, tracks and out of print material. Good to fairly good audio. Vinyl rip, with some pops and crackles.

Anyone who requires a one-stop gateway into The Velvet Underground should get the group’s five-disc Peel Slowly & See boxset. Even hardcore fans might want the set for its different mixes and demo tracks.

For a companion compilation of odds and sorts, Everything You’ve Heard About The Velvet Underground, released in 1982, ought to fit the bill nicely.

Thanks to badvok who shared the set at mindwarppavilion. While some of the vinyl box sets included Nico’s single, featuring I’m Not Sayin’ and The Last Mile, these two tracks were not shared by badvok.

Here are some comments by james_jones, posted at rateyourmusic.com in 2004:

Disc One [Ed: Writer was referring to LP1 or Side 1 and 2] comprises 12 tracks highlighting Lou Reeds’ pre-Velvet days. Included are songs by luminaries such as The Carol Lou Trio, The Shades, The All Night Workers, The Primitives, The Beachnuts and, of course, The Roughnecks (how could you forget them!).

I really like the emerging druginess of Why Don’t You Smile by The Nightworkers (which was later reworked by Maureen Tucker and Jad Fair in the late ’80s). I even like (Do) the Ostrich by The Primitives, but some of the tracks such as The Beach Nuts singin’ I’ve Got A Tiger In My Tank, suck bigtime. You can see the future direction Lou was gonna go by the recordings done by The Roughnecks, in that Lou’s drawl and distinctive guitar sound were starting to form. A lot of the early tracks sound very weird now and they must have sounded even weirder when they were recorded in 1964/5. Maybe the drugs were just starting to kick in coz some of the recording sessions sound like they would have been a real hoot!

The last three tracks of Disc One include a strange feedback drone called Loop which more than definitely hints at Lou’s future direction with noise eg Metal Machine Music recorded a decade later (or was the track just caused by speed psychosis?). The closing two tracks probably recorded in 1967 include taped conversation at a Andy Warhol book launch - with the Velvet’s first album playing in the background. The last track was simply more experimental taping of dialogue for the East Village Electronic Newspaper - circa 1967. Disc One is a very interesting historical piece, but easy listening it is not.

Click here for the full write-up.

Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at mybigo@bigozine.com if you encounter persistent problems downloading the files.

Disc 1
LP Side 1
Track 01. Soft Summer Breeze/Canadian Sunset (The Carol Lou Trio) (5.6MB)
Track 02. Leave Her For Me (The Shades) (3.8MB)
Track 03. So Blue (The Shades) (3.7MB)
Track 04. Why Don’t You Smile (The All Night Workers) (4.3MB)
Track 05. (Do) The Ostrich (The Primitives) (4.2MB)
Track 06. Sneaky Pete (The Primitives) (3.7MB)
Track 07. Cycle Annie (The Beachnuts) (4.2MB)
Side 2
Track 08. I’ve Got A Tiger In My Tank (The Beachnuts) (3.8MB)
Track 09. You’re Driving Me Insane (The Roughnecks) (4.0MB)
Track 10. Loop (Magazine Flexi Disc) (7.5MB)
Track 11. Index (Magazine Flexi Disc Of Conversation) (7.5MB)
Track 12. Noise (From “East Village Electric Newspaper) (3.1MB)
Side 3
Track 13. Some Kinda Love (6.8MB)
Track 14. White Light/White Heat (4.7MB)
Track 15. Rock ‘n’ Roll (8.9MB)
Track 16. Ocean (8.9MB)

Disc 2
Side 4
Track 17. Temptation Inside Your Heart (4.2MB)
Track 18. I’m Sticking With You (3.7MB)
Track 19. Ferryboat Bill (3.7MB)
Track 20. Guess I’m Falling In Love (7.0MB)
Side 5
21. Candy Says - Omitted *
22. Some Kinda Love - Omitted
Track 23. Cool It Down (6.5MB)
Track 24. Who Loves The Sun (6.0MB)
Side 6
Track 25. I’m Free (3.7MB)
Track 26. I Found A Reason (8.9MB)
Track 27. Walk And Talk It (3.3MB)
Track 28. Head Held High (8.7MB)
29. I’m Set Free - Omitted

* Tracks 21, 22, 29 - Available on Live at Max’s Kansas City Deluxe Edition. Visit this site for more details.

Sources:
01: Carol Lou Trio, Juke One Stopper single, early ’70s
02-09: pre-VU recordings
10: Aspen flexi, 1966
11: Index flexi, 1966
12: East Village Other LP, 1966
13: “Val Valentin mix” alternate take, 1968
14: mono mix, 1967
15-19: rough mix demos, 1968-69
20: The Gymnasium, April 1967
21-22: Max’s Kansas City, 23/8/70
23-28:Max’s Kansas City, rehearsals, summer 1970
29: Max’s Kansas City, 26/7/70

Click here to order the five-CD Velvet Underground boxset, Peel Slowly & See.

Click here to order Live at Max’s Kansas City Deluxe Edition.

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