STEVE HACKETT - WEST HOLLYWOOD 1981 [MILLARD TAPE]

July 29, 2021 – 5:57 am

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STEVE HACKETT
West Hollywood 1981 [Mike Millard Master Tapes via JEMS, 1CD]

The Lost and Found Mike the MICrophone Tapes Volume 86. Live at The Roxy, West Hollywood, CA; November 27, 1981 (Late Show). Very good audience recording.

Thanks to Mike Millard; Rob, Jim R; Barry G; JEMS; BK; Goody; and mjk5510 for sharing the show at Dime.

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Known Faults:
- First three songs probably missing
- Ace Of Wands: joined in progress
- I Hope I Don’t Wake: start slightly cut

Welcome to JEMS’ Lost and Found Mike the MICrophone series presenting recordings made by legendary taper Mike Millard, AKA Mike the MICrophone, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77.

Until 2020, the Lost and Found series presented fresh transfers of previously unavailable first-generation copies made by Mike himself for friends like Stan Gutoski of JEMS, Jim R, Bill C. and Barry G. These sources were upgrades to circulating copies and in most instances marked the only time verified first generation Millard sources had been directly digitized in the torrent era.

That all changed with the discovery of many of Mike Millard’s original master tapes.

Yes, you read that correctly, Mike Millard’s master cassettes, long rumored to be destroyed or lost, have been found. Not all of them but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1992.

The reason the rediscovery of his master tapes is such a revelation is that we’ve been told for decades they were gone. Internet myths suggest Millard destroyed his master tapes before taking his own life, an imprudent detail likely concocted based on the assumption that because his master tapes never surfaced and Mike’s mental state was troubled he would do something rash WITH HIS LIFE’S WORK. There’s also a version of the story where Mike’s family dumps the tapes after he dies. Why would they do that?

The truth is Mike’s masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millard’s friends and acquaintances contacted his mother Lia inquiring about the tapes at the time to no avail. But in the early 2000s, longtime Millard friend Rob S was the one she knew and trusted enough to preserve Mike’s work.

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Steve Hackett - The Roxy, West Hollywood, CA; November 27, 1981

Given Mike’s love of all things Genesis and a history of recording the band and Gabriel’s solo shows multiple times, it is no surprise that Mike the Mike was on site for Steve Hackett’s solo turn at the Roxy in late 1981. Hackett played early and late shows on November 26-27.

Like Gabriel, Hackett’s departure from Genesis in 1977 spawned a string of solo projects, the fifth album of which, Cured, released in August 1981, is the impetus for this show which showcases several of its best-known songs like “Hope I Don’t Wake” and “Picture Postcard.” Hackett also played at least a song or two from his first four solo records, including “Ace of Wands” from his first, 1975’s Voyage Of The Acolyte, which featured members of Genesis.

The Roxy can be considered another one of Millard’s home courts, along with The Forum and later the Pacific Amphitheatre in Costa Mesa. As any seasoned taper knows, recording in a small room, a 500-seater, is different than an arena, both in terms of being much more exposed and having less of a directional PA sound, and more of ambient room sound, not to mention drums and guitar amps coming right off the stage.

Given his mastery of the audie medium, by 1981 Millard had his Roxy game down pat and was pulling outstanding “you are there” results (listen to Volume 33, Genesis May 25, 1980 for a textbook example). He gets virtually the same outcome with this Hackett capture, which is rich, immersive and very clear.

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JEMS is proud to partner with Rob, Jim R, Ed F, Barry G and many others to release Millard’s historic recordings and to help set the record straight about the man himself.

We can’t thank Rob enough for reconnecting with Jim and putting his trust in our Millard reissue campaign. He kept Mike’s precious tapes under wraps for two decades, but once Rob learned of our methods and stewardship, he agreed to contribute the Millard DATs and cassettes to the program. Our releases would not be nearly as compelling without Jim’s memories, photos and other background contributions. As many of you have noted, the stories offer an entertaining complement to Mike’s incredible audio documents.

Rising to the occasion again this week are Professor Goody, pitch-tweaker extraordinaire, and mjk5510, who put the finishing touches on this one, helped sort out the setlist and did the cover art.

Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.

BK for JEMS

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Lineage:
AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
JEMS 2021 Transfer: Mike Millard Master Cassettes > Nakamichi Cassette Deck 1 azimuth-adjusted playback > Focusrite Scarlett 6i6 > Sound Forge Audio Studio 13.0 capture > Adobe Audition > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > 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.

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Track 01. Ace Of Wands 4:10
Track 02. Picture Postcard 5:24
Track 03. The Steppes 7:05
Track 04. Every Day 7:06
Track 05. The Red Flower of Tachai Blooms Everywhere/Tigermoth 6:30
Track 06. Blood On The Rooftops 1:59
Track 07. Horizons 1:39
Track 08. Kim 2:57
Track 09. Overnight Sleeper 4:24
Track 10. I Hope I Don’t Awake 4:40
Track 11. Slogans 7:23
Track 12. A Tower Struck Down 2:51
Track 13. Spectral Mornings 6:31
Track 14. Please Don’t Touch 8:15
Track 15. The Show 5:14
Track 16. Clocks 5:47
82 mins

Click here to order Steve Hackett’s Wuthering Nights: Live In Birmingham 2017 (released in January 2018).

VAN MORRISON - POETIC CHAMPIONS COMPOSE LIVE!

July 28, 2021 – 8:05 am

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VAN MORRISON
Poetic Champions Compose Live! [no label, 1CD]

Fan compilation. Various dates and venues. Very good audio - mix of radio broadcasts and audience recordings?

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Jimmy Guterman, rollingstone.com:

Although [Van Morrison’s 17th studio album, 1987] doesn’t soar as unexpectedly high as last year’s No Guru, No Method, No Teacher, Van Morrison’s Poetic Champions Compose is another worthy installment in his series of soulful, meditative explorations. Unlike other aging pop performers who respond to changing tastes by desperately, aimlessly chasing trends, Morrison has retreated toward his deliberate Celtic muse, refining past achievements and digging deeper at the edges of his inspiration.

Still, the R&B elements - and almost all the uptempo leanings - in Morrison’s diverse mix of influences are barely implied on Poetic Champions Compose… For once, Morrison is more successful on the instrumentals, especially “Spanish Steps,” which features his broad, sly alto sax; the three wordless tracks are beautiful listening but not easy listening.

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Thanks to robbiem for sharing the tracks at Dime.

robbiem noted:

Many thanks and much appreciation for all the tapers, masterers and seeders for making this sort of thing possible. Special thanks to prb for being a font of knowledge and clarity.

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Track 01. Spanish Steps 4:33
September 23, 2005; Gran Teatre del Liceu, Barcelona, Spain
Track 02. The Mystery 3:29
March 13, 1992; Bangor Castle Leisure Centre, Bangor, Northern Ireland
Track 03. Queen of the Slipstream - with the Rune Klakegg Band 4:40
March 26, 1988; Voss Kino, Voss, Norway
Track 04. I Forgot That Love Existed 3:38
June 23, 1998; Sheffield Arena, Sheffield, UK
Track 05. Sometimes I Feel Like A Motherless Child 4:23
March 10, 2016; Falkonersalen, Copenhagen, Denmark
Track 06. Celtic Excavation 4:36
September 19, 1987; Edward Herbert Hall, Loughborough, UK
Track 07. Someone Like You 4:19
July 7, 2016; Auditorium Stravinski, Montreux, Switzerland
Track 08. Alan Watts Blues 4:15
June 21, 2009; Wales Millennium Centre, Cardiff
Track 09. Give Me My Rapture 3:39
January 17, 1990; The Church of Our Lady St. Mary, Stogumber, UK
Track 10. Did Ye Get Healed? 5:09
December 18, 1999; Plymouth Pavilions, Plymouth, UK
Track 11. Allow Me/Mama Don’t Allow It 3:32
April 20, 1992; Great American Music Hall, San Francisco, CA

47 mins

Click here to order Van Morrison releases.

THE LONG RYDERS - SAN FRANCISCO 1985

July 27, 2021 – 6:22 am

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THE LONG RYDERS
San Francisco 1985 [no label, 1CD]

Live at The Stone, San Francisco, CA; January 25, 1985. Very good soundboard.

There was a time when “The Smiths were a more popular indie band than The Long Ryders in Europe and when only The Replacements were a more popular indie band in the USA.” So goes the blurb for The Long Ryders’ first full-length album, Native Sons (1984). And that was before the release of State Of Our Union in 1985, the group’s most well known and highest charting album.

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Thanks to markp (transfer) and persic for sharing the show at Dime.

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Track 01. Southside of the Story 0:53
Track 02. Still Get By 2:05
Track 03. Wreck Of The 809 3:54
Track 04. Good Times Tomorrow, Hard Times Today 3:56
Track 05. (Sweet) Mental Revenge 2:45
Track 06. State Of My Union 4:18
Track 07. Highway 61 Revisited 4:56
Track 08. Final Wild Son 2:51
Track 09. I Don’t Care What’s Right, I Don’t Care What’s Wrong 3:41
Track 10. Tell It To The Judge On Sunday 3:28
Track 11. Ivory Tower 2:58
Track 12. Join My Gang 2:32
Track 13. I Had A Dream 3:12
Track 14. 10-5-60 4:56
Track 15. I Can’t Hide (with Cyril Jordan) 4:08
Track 16. Jumpin’ In The Night (with Cyril Jordan) 3:04
54 mins

Click here to order Long Ryders/Sid Griffin albums.

LED ZEPPELIN - MINNEAPOLIS 1975 [REMASTERED]

July 26, 2021 – 5:54 am

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LED ZEPPELIN
Jesus, Live In Minneapolis 1975 [EMPRESS VALLEY EVSD-1280/1281, 2CD]

Live at the Met Center, Bloomington, Minneapolis; January 18, 1975. Very good soundboard.

THIS SHOW WILL ONLY BE AVAILABLE FOR SHARING FOR THE NEXT SEVEN DAYS.

Thanks to JR “the spaceman” for providing the original set; and to dadgad for sharing it at Dime - this version was shared in June 2021.

Thanks to Captain Acid (remaster); and to exile1972 for sharing this upgrade at Dime.

Captain Acid noted:

I was asked to fix this one from a friend, so i did it. I did phase and level correction and new EQ. Also, I have patched two incomplete tracks with audience recording (”The Wanton Song” and “No Quarter”), now it is complete. Enjoy.

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Disc 1
Track 101. Intro 1:31
Track 102. Rock And Roll 3:43
Track 103. Sick Again 6:25
Track 104. Over The Hills And Far Away 7:19
Track 105. When The Levee Breaks 9:55
Track 106. The Song Remains The Same 5:27
Track 107. The Rain Song 9:08
Track 108. Kashmir 9:16
53 mins

Disc 2
Track 201. The Wanton Song (SBD.AUD) 4:22
Track 202. No Quarter (AUD.SBD) 15:03
Track 203. Trampled Under Foot 7:16
Track 204. Moby Dick 18:32
Track 205. In My Time Of Dying 11:04
Track 206. Stairway To Heaven 14:02
Track 207. Whole Lotta Love 0:53
Track 208. Black Dog 8:31
80 mins

Click here to order Led Zep releases.

JAZZ ON SUNDAY: SOPHIA DOMANCICH - FRANCE 2021

July 25, 2021 – 6:06 am

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SOPHIA DOMANCICH
France 2021 [no label, 1CD]

Live at the Studio Sextan, Malakoff, France; May 8, 2021 (without audience). Very good FM broadcast.

Thanks to Cosmikd for sharing the show at Dime.

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In 1979
French pianist and jazz composer Sophia Domancich met Steve Lacy, Bernard Lubat and Jean-Louis Chautemps who introduced her to the world of jazz and improvisation. In 1999, she became the first woman to receive the Prix Django Reinhardt from the Jazz Academy as French Musician of the Year.

Over the last 20 years, Domancich, 64, has become closely associated with the Canterbury (UK) scene in the hearts of its fans. Like fellow French citizen Patrice Meyer, she has worked with most of the key figures of the genre: Pip Pyle, Hugh Hopper, Elton Dean, John Greaves, Richard Sinclair, Phil Miller and Didier Malherbe all played with her at one point, often over a long period of time.

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Thanks also to Yves Moch (front cover picture) and Christian Taillemite (back cover picture). Pictures posted on the net.

Lineage:
FM > Yamaha TX-330 > Audacity (WAV) > WaveLab > FLAC (level 8, sector-align)
Jazz Club, France Musique, direct live

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Track 01. Improvisation 13:36
Track 02. Improvisation 12:44
Track 03. Improvisation 14:33
Track 04. Improvisation 8:02
Track 05. Improvisation 4:47
Track 06. Interview by Yvan Amar 3:12
57 mins

Sophia Domancich - piano, Fender Rhodes

Click here to order Sophia Domancich releases.

CAT STEVENS - SYDNEY 1972

July 24, 2021 – 5:44 am

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CAT STEVENS
Sydney 1972 [The Waz From Oz Archives, 1CD]

1972 Australian Zimmering Tour. Live at the Hordern Pavilion, Sydney, New South Wales, Australia; 29th, 30th or 31st August 29/30/31(?) 1972. Very good mono audience recording (vinyl rip).

Thanks to wazza50 for sharing the show at Dime.

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This mono recording is sourced from the very rare limited Australian pressed bootleg LP ‘Live in Sydney ‘72′ which was released in late 1972 or early 1973.

What you are now listening to was probably the very first Australian pressed vinyl bootleg, if not the first then it was close to it. The only other known other locally pressed boots around the same time period 1972 - 1973 were a little-known Led Zeppelin Live In Sydney 1972 and a copy of TMOQ Dylan’s Troubled Troubadour Basement Tapes. I brought all three in this period.

Next to come in late 1974 or early 1975 were the original Lou Reed Sydney 1974 Blondes Have More Fun LP followed by The Eagles 1976 Welcome To The Late Show Sydney LP. As far as I know that was it for local Australian bootlegs until sometime in the 1980s when a few more surfaced such as that single LP’s Iggy Pop 1983 Melbourne and Siouxsie & The Banshees 1983 Sydney.

For those of us in the know, we didn’t worry as here in Australia USA pressed bootlegs with European ones occasionally thrown were easily available. In the early to mid-’7s there were two Sydney record shops that catered for our bootleg needs. No under the counter dealings required as their racks were top heavy with them, in fact White Light (RIP) was mostly bootlegs.

My Led Zep 1972 Sydney LP was nicked many decades ago but I still have my Cat Stevens 1972 and Lou Reed 1974 Sydney LPs. To this day I’ve never seen another copy of any of these. I assume they were pressed in extremely small numbers.

The Cat Stevens Live in Sydney LP came in a glossy B/W cover with a groovy hand drawn picture of Cat on the front cover with printed lyrics on the back along with a colour sticker on it saying ‘Australian Made’. The cover is reproduced in the artwork with this torrent. The people behind the LP were honest as written on the back cover it states that the recording suffers from sound fluctuations & excessive speaker noise. Tis true but it’s still a good recording for the times.

The source tape used for the Cat Stevens Live In Sydney 1972 LP to this day has never surfaced and we don’t know which one of the three Sydney concerts it was taped at. The LP ran rather fast, some tracks were faster than others, they were all over the place like a mad woman’s turd.

Add to this, the fluctuating sound levels made some sections somewhat distorted. Unfortunately this is very noticeable in louder songs, also the LP was rather crackly from the first play. audiowhore spent countless hours correcting the speed/pitch, plus de-clicked it and then mixed it to buggery. He has to be congratulated for his work repairing and improving the sound.

The LP tracks are taken from different sections of the concert. It starts with The Wind which was the first song to start the proceedings at the Sydney shows. Methinks the following songs on the LP are in the order that they were played although of course a good many songs between them are missing. The LP is roughly 44 minutes of a nearly two-hour concert.

I recently found a small news clipping saying that when Cat Stevens came off stage before the encores at the first Sydney concert he was ready to kill most of the members of his band especially the string section. He was reported as saying that it was the worst show he’s ever done. It gives no reason why he thinks this but sounds like the Cat was ‘Not happy Jan’ (only Aussies will get that!) at his first concert in Sydney.

On the bootleg, there’s some thumping before 18th Avenue. After Sittin’ has finished, some audience members close to the stage just might be offering Cat an illegal substance as you can hear him reply “No thanks, we get stoned enough” quickly followed by him asking for more guitar.

When I Wish I Wish ends he’s says loudly “Calamity, Calamity” then there’s a high-pitched squeal of feedback. This is followed by a long period of tuning up with Cat declaring it’s got to be in tune & where’s the plug. In fact, there’s tuning up throughout the songs on the LP plus a false start. Hearing this recording I’d say it’s the 1st Sydney concert on August 29, 1972, the one he says is his worst concert ever, but methinks he’s over exaggerating.

Cat is politically incorrect as he likens the previously mentioned high pitched squeal of feedback to the stereotype high pitched gay voice by commenting “’Ere there must be some poofs in this audience”. Poofs of course being a derogatory slang for gays. But he dead set makes up for it in How Can I Tell You by singing once “Feel my arse around you” instead of “Feel my arms around you”.

Cat Stevens was extremely popular in Australia by the time he made his 1st Australian Tour. I’ve read that by 1972, almost 1 in 2 Aussies owned a Cat Stevens LP. That might be a stretch but on his arrival at Sydney airport he was mobbed by 300 people. From written accounts his airport arrival ended up becoming somewhat of a dead set shit fight when the fans broke through his police escort. Cat’s clothing was torn plus at one point he was knocked over before escaping the crowd. Later at his one & only Australian Press Conference he was awarded with 25 gold records & 1 gold cassette!

There was a big kerfuffle about the price of the Cat Stevens tickets (A$6.60) which if memory serves me correctly at the time where the highest priced tickets to go on sale here for a concert. This ticket controversy might be the reason that Cat later decided to donate A$20,000 from the proceeds of his third Sydney concert to Australian Freedom From Hunger.

My now departed long-time friend Recy went to the 1st Sydney show on August 29, it’s her ticket in the artwork. I wasn’t able to obtain tickets for either of the first two Sydney shows as they sold out quickly. Due to public demand, a third Sydney show was put on sale, however tickets were only available through mail order. This is where I got lucky, scoring a ticket to the 3rd and final Sydney concert on August 31.

Usually I have a good long-term memory but sadly I can’t remember many details about this show. Not that I didn’t enjoy it, I did as I was a big Cat Stevens fan. My seat was on the floor and I remember the audience at the show being exceptionally quiet during the songs, then politely clapping/cheering between songs, becoming louder when he walked off before the encores.

I can also recall until they were required the 11-piece string section were hidden behind a curtain. I recollect him switching from guitar & going over to the piano to perform Sad Lisa (one of my favourites) sadly not on this LP. Also, I think at the beginning of the show before he came on stage we were treated to an animated video of Teaser And The Firecat, or maybe I am confused & this was shown at the 1974 Sydney concert.

Recy met Cat a few times in Sydney on the 1972 tour. She went on to become the president of his Australian Fan Club. In 1974 he asked her to mind his empty house in London while he was on tour somewhere which she did. I remember Recy telling me the house was sparsely furnished, very minimalistic. They were in contact periodically over the decades and, at Recy’s 2020 wake, there was a nice touch when a family member read out a personal condolence message from Yusef/Cat Stevens.

I attended the Cat Stevens 1974 Bamboozle Tour Sydney show but didn’t tape it. However, I did tape the Sydney Yusef/Cat Sydney shows in 2010 & 2017. They’ll be DIMED at some stage in the future.

Once again, thanks to audiowhore for the lengthy period of time he spent making this recording fit for consumption for those on DIME.

Enjoy,

Waz

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Lineage:
Vinyl transfer by Roger in 2020
extensive audio repair by audiowhore
Cat Stevens Sydney 1972 Photos By Big Knob
For Recy
Artwork By Waz From Oz

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 if you encounter persistent problems downloading the files. Also email us if you have any rarities you’d like to share with our readers.

Track 01. The Wind 2:14
Track 02. Lady D’Arbanville 4:08
Track 03. Into White 3:51
Track 04. 18th Avenue (Kansas City Nightmare) 4:32
Track 05. I Think I See The Light 4:25
Track 06. Morning Has Broken 3:51
Track 07. If I Laugh 3:43
Track 08. Trouble 3:13
Track 09. Sitting 4:04
Track 10. I Wish I Wish 6:15
Track 11. How Can I Tell 4:12
45 mins

Lineup:
Cat Stevens - vocals, guitar, piano
Alun Davies - guitar
Larry Steele - bass
Jean Roussel - keyboards
Gerry Conway - drums
Del Newman - musical director
plus 11-piece string section

Click here to order Cat Stevens (Yusuf Islam) releases.

BOB DYLAN - 1965 REVISITED (CD13/14 OF 14)

July 23, 2021 – 6:36 am

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Our costs will always be there. So readers who can donate towards the cost of the site, please open a Skrill account. Readers who wish to contribute to BigO will now have to use Skrill (click  here). We are no longer able to use PayPal to receive donations. Register an account at Skrill. To make a payment, use this e-mail address as recipient’s e-mail address in Skrill: mail2[at]bigomagazine.com. Looking forward to hearing from you.

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BOB DYLAN
1965 Revisited [Great Dane, CD13/14 of 14]

KQED TV Studios, San Francisco Press Conference; December 3, 1965. Columbia Records Press Room, Los Angeles Press Conference; December 17, 1965. Berkeley Community Theater; December 4, 1965.

Bruce Eder, allmusic.com:

Disc 13 has a nearly one-hour press conference from San Francisco where Dylan is in better spirits, having a bit of fun with the reporters, who get into the spirit of the proceedings and ask some genuinely intelligent questions, to which he responds in kind, especially about music. This disc concludes with a good quality audience tape of his show at Berkeley from December 4, which is continued on Disc 14 - he and Robbie Robertson and company sound absolutely savage at this show. The disc and the set close out with a Los Angeles press conference from December 17, where Dylan has a lot of quietly nasty, knowing fun answering genuinely stupid questions.

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Both the San Francisco Press Conference and the Los Angeles Press Conference have been arbitrarily split for easier access.

Disc 13
KQED TV Studios, San Francisco Press Conference; December 3, 1965
Track 1301. KQED TV Studios - Part A 9:50
Track 1302. KQED TV Studios - Part B 7:56
Track 1303. KQED TV Studios - Part C 8:15
Track 1304. KQED TV Studios - Part D 11:20
Track 1305. KQED TV Studios - Part E 7:37
Track 1306. KQED TV Studios - Part F 6:56

Berkeley Community Theater; December 4, 1965
Musicians Robbie Robertson (guitar), Rick Danko (bass), Bobby Gregg (drums), Richard Manuel (piano), Garth Hudson (organ)
Track 1307. Tombstone Blues 4:54
Track 1308. I Don’t Believe You 5:15
Track 1309. Baby Let Me Follow You Down 4:04
67 mins

Disc 14
Berkeley Community Theater; December 4, 1965
Musicians Robbie Robertson (guitar), Rick Danko (bass), Bobby Gregg (drums), Richard Manuel (piano), Garth Hudson (organ)
Track 1401. Just Like Tom Thumb’s Blues 5:41
Track 1402. Long Distance Operator 4:04
Track 1403. It Ain’t Me Babe 5:48
Track 1404. Ballad Of A Thin Man 6:10
Track 1405. Positively 4th Street 4:44
Track 1406. Like A Rolling Stone 6:05

Columbia Records Press Room, Los Angeles Press Conference; December 17, 1965
Track 1407. Columbia Records Press Room - Part A 10:40
Track 1408. Columbia Records Press Room - Part B 10:12
Track 1409. Columbia Records Press Room - Part C 12:50
67 mins

Click here to order Bob Dylan releases.

NANCI GRIFFITH - SANTA CRUZ 1986

July 22, 2021 – 6:22 am

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NANCI GRIFFITH
Santa Cruz 1986 [no label, 1CD]

Live at the Dream Inn, Santa Cruz, CA; December 14, 1986 (early show). Very good soundboard.

Thanks to markp (transfer); and to persic for sharing the show at Dime.

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Michael Hall, texasmonthly.com:

[In 1985], Griffith moved to Nashville, where she found that she had a reputation. “The day my phone was hooked up, [revered country songwriter] Harlan Howard called me, and the next day Chet Atkins,” she recalls. “I was like, ‘Wow, this is really something.’” The major labels came calling too; she signed with MCA. She was a breath of fresh air in conformist Nashville.

Her first two albums for MCA - Lone Star State of Mind [1987] and Little Love Affairs [1988] - had a folk heart but a country-pop body (they were co-produced by Griffith and Nashville heavyweight Tony Brown). She put together a band, the Blue Moon Orchestra, that would stay with her until the late ’90s. She had her first hit, Julie Gold’s “From a Distance,” which went to number one in Ireland.

Other Nashville artists - Suzy Bogguss, Kathy Mattea - had hits with her songs. Though she couldn’t make the leap to being a country star, she moved out of the clubs and into the concert halls, especially in Ireland (she loved Dublin so much she kept an apartment there for six years) and England. “She became well-known and popular, in a way without any of us knowing it,” Jimmie Dale Gilmore says. “And she surprised a lot of people. The industry seemed to have decided that literary folk music wasn’t commercial, but she proved that was wrong. Her degree of success paved the way for others, like Lyle [Lovett] and me, to go that way.”

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Track 01. Anybody Can Be Somebody’s Fool * 3:50
Track 02. Stage banter 0:18
Track 03. Goin’ Gone 3:42
Track 04. Fly By Night 4:32
Track 05. I Wish It Would Rain * 4:06
Track 06. Trouble In The Fields 4:06
Track 07. Introduces Nina Gerber 0:56
Track 08. Banks Of The Pontchartrain 4:41
Track 09. St Olav’s Gate 3:50
Track 10. Wing And The Wheel 2:58
Track 11. Once In A Very Blue Moon 2:22
Track 12. Ballad Of Robert Winter-Smith 3:26
Track 13. Working In Corners 4:39
Track 14. Daddy Said Intro 3:19
Track 15. Daddy Said 2:40
Track 16. Love At The Five And Dime 7:37
Track 17. Wichita Falls Waltz 1:01
58 mins

* Tracks from Little Love Affairs [1988].

Click here to order Nanci Griffith releases.

VAN MORRISON - NO GURU, NO METHOD, NO TEACHER LIVE!

July 21, 2021 – 9:13 am

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VAN MORRISON
No Guru, No Method, No Teacher Live! [no label, 1CD]

Fan compilation. Various dates and venues. Very good audio - mix of radio broadcasts and audience recordings?

No Guru, No Method, No Teacher is the sixteenth studio album by Northern Irish singer-songwriter Van Morrison, released in 1986 on Mercury. The album title is evocative of a 1966 quotation by Jiddu Krishnamurti: “…there is no teacher, no pupil; there is no leader; there is no guru; there is no Master, no Saviour. You yourself are the teacher and the pupil; you are the Master; you are the guru; you are the leader; you are everything.” Upon release in 1986, it was well received by critics and charted at No. 27 in the UK and number seventy on the Billboard 200.- wikipedia

No Guru, No Method, No Teacher (a line from the sweet “Madame George”-like reverie “In the Garden”) is Morrison’s impatient declaration that his music is not to be confused with religious doctrine, a call to any particular altar. “Got to Go Back” reveals the spiritual core of Morrison’s work when he recalls schoolboy days communing with Ray Charles records after class - “Oh that love that was within me/You know it carried me through” - and ultimately it is that kind of elemental soul that resonates throughout this album. “Breathe it in all the way down,” Morrison instructs at one point in “Got to Go Back,” “and breathe it out with a radiance.” Then just bask in the glow. - David Fricke, Rolling Stone

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Thanks to robbiem for sharing the tracks at Dime.

robbiem noted:

Many thanks and much appreciation for all the tapers, masterers and seeders for making this sort of thing possible. Special thanks to prb for being a font of knowledge and clarity.

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Pictures by Lynn Goldsmith, found on the net - Thanks!

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Track 01. Got To Go Back - with the Danish Radio Big Band Orchestra 4:55
August 5, 1995; Toldkammergarden, Helsingor, Denmark
Track 02. Oh The Warm Feeling 2:43
September 25, 1986; Philipshalle, Duesseldorf, Germany
Track 03. Foreign Window 3:39
July 9, 2017; Ahoy, Rotterdam, The Netherlands
Track 04. A Town Called Paradise Workshop 6:29
November 20, 1993; Bockenheimer Depot, Frankfurt, Germany
Track 05. In The Garden Workshop 13:22
February 12, 1994; The Arena, Kettering, UK
Track 06. Tir Na Nog 6:43
November 17, 1986; Fairfield Halls, Croydon, UK
Track 07. Here Comes The Knight - with the Danish Radio Big Band Orchestra 4:23
October 15, 1986; Radiohuset Studio, Copenhagen, Denmark
Track 08. Thanks For The Information 7:49
October 19, 2016; SFJAZZ Center, San Francisco, CA
Track 09. One Irish Rover 3:57
July 11, 2018; Auditorium Stravinski, Montreux, Switzerland
Track 10. Ivory Tower 3:41
July 26, 1986; Universal Amphitheatre, Los Angeles, CA

58 mins

Click here to order Van Morrison releases.

CROSBY STILLS NASH & YOUNG - SANTA MONICA 1990 [MILLARD TAPE]

July 20, 2021 – 6:01 am

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CROSBY STILLS NASH & YOUNG
Santa Monica 1990 [Mike Millard Master Tapes via JEMS, 2CD]
The Lost and Found Mike the MICrophone Tapes Volume 87. Live at the Civic Auditorium. Santa Monica, CA; March 31, 1990. Very good audience recording.

Thanks to Mike Millard; Rob, Jim R; Barry G; JEMS; BK; Goody; and mjk5510 for sharing the show at Dime.

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Welcome to JEMS’ Lost and Found Mike the MICrophone series presenting recordings made by legendary taper Mike Millard, AKA Mike the MICrophone, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77.

Until 2020, the Lost and Found series presented fresh transfers of previously unavailable first-generation copies made by Mike himself for friends like Stan Gutoski of JEMS, Jim R, Bill C. and Barry G. These sources were upgrades to circulating copies and in most instances marked the only time verified first generation Millard sources had been directly digitized in the torrent era.

That all changed with the discovery of many of Mike Millard’s original master tapes.

Yes, you read that correctly, Mike Millard’s master cassettes, long rumored to be destroyed or lost, have been found. Not all of them but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1992.

The reason the rediscovery of his master tapes is such a revelation is that we’ve been told for decades they were gone. Internet myths suggest Millard destroyed his master tapes before taking his own life, an imprudent detail likely concocted based on the assumption that because his master tapes never surfaced and Mike’s mental state was troubled he would do something rash WITH HIS LIFE’S WORK. There’s also a version of the story where Mike’s family dumps the tapes after he dies. Why would they do that?

The truth is Mike’s masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millard’s friends and acquaintances contacted his mother Lia inquiring about the tapes at the time to no avail. But in the early 2000s, longtime Millard friend Rob S was the one she knew and trusted enough to preserve Mike’s work.

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Crosby, Stills, Nash & Young - Civic Auditorium, Santa Monica, CA; March 31, 1990

Mike was on hand for a special benefit concert that saw CSNY reunite to raise money and awareness for organ donation in support of their original drummer Dallas Taylor, who was in need on a kidney transplant. CSNY shared the bill with Chris Hillman’s Desert Rose Band and Don Henley at the relatively intimate Santa Monica Civic Auditorium.

Though CSNY had played Young’s Bridge School Benefit concert the prior October, one can forget that circa 1990 a CSNY reunion was a rare thing indeed. They had only reunited seven times prior to this show since the 1974 tour, and many of those gigs were brief appearances like Live Aid. While they would tour significantly in 2000, 2002 and 2006, CSNY had played fewer than 250 times ever.

The Civic show was a generous 18 song set, albeit made up primarily of songs from Young’s solo career, CSN, Buffalo Springfield and a cover of The Beatles’ “Blackbird.”

Neil opened the show with “Rockin’ In The Free World” and what would prove to be the second to last performance ever of “Eldorado,” performed with Frank Sampedro. Third up was “Someday,” followed by the world premiere of “Mother Earth (Natural Anthem).” Later in the set he added “Human Highway” and “Silver and Gold.” On the solo tip, Stills chips in his own “Change Partners.”

Dallas Taylor himself sits in for the final two songs of the night, “Wooden Ships” and “Teach Your Children,” his first appearance with the group in 15+ years.

This recording is a rare exception to the rule of Millard only taping shows where he had tickets exactly where he wanted them. A quick audition makes it clear Mike was in the back of the hall, far from the PA, which can be extra challenging with acoustic performances. With the crowd largely Neil fans, true to form they are loud and obnoxious, meaning Mike’s tape has more audience noise than usual.

While the recording is clear, it is not one of his best, but the historic nature of the show certainly merits his release. He also recorded the rest of the bill, and did the same for the second night on April 1.

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JEMS is proud to partner with Rob, Jim R, Ed F, Barry G and many others to release Millard’s historic recordings and to help set the record straight about the man himself.

We can’t thank Rob enough for reconnecting with Jim and putting his trust in our Millard reissue campaign. He kept Mike’s precious tapes under wraps for two decades, but once Rob learned of our methods and stewardship, he agreed to contribute the Millard DATs and cassettes to the program. Our releases would not be nearly as compelling without Jim’s memories, photos and other background contributions. As many of you have noted, the stories offer an entertaining complement to Mike’s incredible audio documents.

Thanks this week to Professor Goody, who helped out with pitch on VERY short notice, and to the unflappable mjk5510 who always catches my pitches no matter how off the plate I throw them.

Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.

BK for JEMS

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Lineage:
AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
JEMS 2021 Transfer: Mike Millard Master Cassettes > Nakamichi Cassette Deck 1 azimuth-adjusted playback > Focusrite Scarlett 6i6 > Sound Forge Audio Studio 13.0 capture > Adobe Audition > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > FLAC

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Disc 1
Track 101. Rockin’ In The Free World 5:50
Track 102. Eldorado 6:49
Track 103. Someday 5:54
Track 104. Mother Earth 8:00
Track 105. Wasted On The Way 2:59
Track 106. Change Partners 3:49
Track 107. Blackbird 2:52
Track 108. The Lee Shore 4:20
Track 109. Wind On The Water 6:41
Track 110. House Of Broken Dreams 4:08
52 mins

Disc 2
Track 201. Almost Cut My Hair 5:42
Track 202. For What It’s Worth 5:32
Track 203. Suite Judy Blue Eyes 11:09
Track 204. Human Highway 3:04
Track 205. Silver And Gold 3:49
Track 206. Southern Cross 8:06
Track 207. Wooden Ships 8:34
Track 208. Teach Your Children 3:37
50 mins

Click here to order CSNY releases.

THE B-52’s - PARIS 1979

July 19, 2021 – 5:53 am

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THE B-52’s
Paris 1979 [no label, 1CD]

Live at the Palace, Paris, France; July 10, 1979. Very good FM broadcast.

Thanks to taper PLG; and _driver8_ for sharing the show at Dime.

The band’s quirky take on the new wave sound of their era was a combination of dance and surf music set apart from their contemporaries by the unusual guitar tunings used by Ricky Wilson and thrift-store chic.

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Kory Grow, rollingstone.com:

“We didn’t have a goal of what we wanted to sound like when we started out,” says Keith Strickland, the multi-instrumentalist behind some of the B-52’s‘ biggest hits. “We just knew we wanted it to be fun.”

Since springing out of Athens, Georgia, in the mid-Seventies, the group has always been the quintessential party band. Songs like “Rock Lobster,” “Dance This Mess Around” and “Love Shack” are indeed fun, thanks to singer Fred Schneider’s hilarious recitatives, fellow vocalists Kate Pierson and Cindy Wilson’s heaven-reaching harmonies, and the fusion of beach rock, Motown, girl groups, and ebulliently experimental jamming that Strickland and founding guitarist Ricky Wilson whipped up.

Kate Pierson: Fred and Keith used to get stoned and do poetry and play. And I had been in a band in high school, and Cindy was singing with Ricky. So we all had sort of played with each other. One night we just started jamming after going out and drinking these flaming-volcano drinks, and that became the template of the band. Most of our songs came from jamming together.

Fred Schneider: We liked all music: James Brown, Motown, the Velvet Underground, Yoko Ono, the Beatles, Perez Prado mambo – we played everything, especially anything to dance to. Our goal, I guess, was to be a dance band, so we didn’t really have ballads in the beginning.

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Lineage:
France Inter FM Master (Feedback by Bernard Lenoir)
Toshiba Tuner > Tape Deck Toshiba PT-470
Tape Deck Toshiba PT-470 > Pioneer PDR-509 cd burner
Nero 9 Wav > Trade Little Helper [Flac 8]

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Track 01. Planet Claire 4:05
Track 02. 52 Girls 3:32
Track 03. 6060-842 2:41
Track 04. Devil In My Car 5:06
Track 05. Lava 4:36
Track 06. Hero Workship 3:47
Track 07. Runnin’ Around 3:04
Track 08. Downfown 3:37
Track 09. Rock Lobster 1:57
Track 10. Private Idaho 3:44
37 mins

Click here to order B-52’s releases.

JAZZ ON SUNDAY: TOSHIKO AKIYOSHI - NEW YORK 1980

July 18, 2021 – 6:24 am

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TOSHIKO AKIYOSHI
with Lew Tabackin Big Band
New York 1980 [no label, 2CD]

NPR’s Jazz Alive! Live at the Carnegie Hall, New York, NY; June or July 1980. Very good FM broadcast.

Thanks to carville for sharing the show at Dime.

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Scott Yanow, allmusic.com:

As an arranger, Toshiko Akiyoshi (91, influenced originally by Gil Evans and Thad Jones) has been particularly notable for incorporating elements of traditional Japanese music into her otherwise bop-ish charts. A strong (and underrated) pianist in the Bud Powell tradition, Akiyoshi was born in China but moved to Japan in 1946. She played locally (Sadao Watanabe was among her sidemen) and, after being noticed and encouraged by Oscar Peterson, studied at Berklee during 1956-1959.

Married for a time to altoist Charlie Mariano, she co-led the Toshiko Mariano Quartet in the early ’60s. After working with Charles Mingus in 1962 (including participating in his ill-fated Town Hall Concert), Toshiko returned to Japan for three years.

Back in New York by 1965, she did a radio series and formed a quartet with her second husband, Lew Tabackin, in 1970. After moving to Los Angeles in 1972, Toshiko Akiyoshi put together her very impressive big band which featured such fine soloists as Bobby Shew, Gary Foster, and Tabackin. They recorded several notable albums before Akiyoshi decided, in 1981, to move to New York.

Since their relocation, Akiyoshi and Tabackin have both been quite active although her re-formed big band has actually received less publicity than it did in LA. She ranks as one of the top jazz arrangers of the past several decades.

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Lineage:
FM broadcast (circa 1980-1981) > Rotel receiver > Akai cassette deck > TDK AD90 and Scotch Master cassettes (Dolby B) > Sony TC-WR635S cassette deck (refurbished 2021) > PC > Goldwave > Flac

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Disc 1
Track 101. The Village 5:43
Track 102. announcements 1:55
Track 103. Bebop 5:12
Track 104. intro 0:38
Track 105. Quartet 5:33
Track 106. intro 0:38
Track 107. Warning: Success May be Hazardous to Your Health 5:31
Track 108. intro 0:59
Track 109. Alone Together 6:43
Track 110. Sextet 11:32
Track 111. Interview and intro 4:59
Track 112. intro 0:12
Track 113. Song For The Harvest 7:06
57 mins

Disc 2
Track 201. intro 0:19
Track 202. Sumie 8:06
Track 203. intro for Autumn Sea 10:50
Track 204. Toshiko’s Song intro 0:52
Track 205. Deracinated Flower 8:24
Track 206. intro 1:18
Track 207. Farewell to Mingus 11:14
Track 208. Chasing After Love 9:50
Track 209. Billy Taylor’s outro 0:33
52 mins

Lineup:
Toshiko Akiyoshi - piano
Lew Tabackin Big Band:
Lew Tabackin - tenor saxophone and flute
John Gross - tenor saxophone
Dan Higgins - alto saxophone
Bob Shepard - alto saxophone
Bill Byrne - baritone saxophone
Buddy Childers - trumpet
Steven Huffsteter - trumpet
Larry Ford - trumpet
Mike Price - trumpet
Jim Sawyer - trombone
Hart Smith - trombone
Bruce Fowler - trombone
Phil Teele - bass trombone
Bob Bowman - bass
Steve Haughton - drums

Click here to order Toshiko Akiyoshi releases.

LINDA RONSTADT - LOS ANGELES 1976

July 17, 2021 – 6:13 am

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LINDA RONSTADT
Like A Rose - The Classic 1976 Broadcast Recording [no label, 1CD]

Live at the Universal Amphitheatre, Los Angeles, CA; November 3, 1976. Very good KBFH-WBCN FM broadcast.

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Track 01. That’ll Be The Day 2:42
Track 02. Love Has No Pride 4:39
Track 03. Silver Threads And Golden Needles 2:40
Track 04. Willin’ 3:28
Track 05. It Doesn’t Matter Anymore 3:45
Track 06. When Will I Be Loved 2:38
Track 07. Crazy 4:25
Track 08. Lo Siento Mi Vida 4:30
Track 09. Love Is A Rose 2:14
Track 10. Hasten Down The Wind 2:37
Track 11. Band Intros 0:55
Track 12. You’re No Good 5:01
Track 13. Heat Wave 2:44
Track 14. Heart Like A Wheel 3:13
Track 15. Desperado 3:40
Track 16. Someone To Lay Down Beside Me 4:42
54 mins

Lineup:
Linda Ronstadt - vocals
Kenny Edwards - bass, vocals, harp
Andrew Gold - guitar, vocals
Waddy Wachtell - guitar, vocals
Michael Botts - drums
Brock Walsh - keyboards
Dan Dugmore - pedal steel guitar, guitar, harmonica

Click here to order Linda Ronstadt releases.

BOB DYLAN - 1965 REVISITED (CD11/12 OF 14)

July 16, 2021 – 6:10 am

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BOB DYLAN
1965 Revisited [Great Dane, CD11/12 of 14]

Alan Stone Interview, Cobo Hall Detroit; October 24,1965. Broadcast by WATM Radio Station. Nat Hentoff Interview for “Playboy” Magazine, Columbia Office New York City October or November 1965. Unpublished.

Bruce Eder, allmusic.com:

Part of Disc 11 and all of Disc 12 is made up entirely of Nat Hentoff’s unpublished Playboy interview with Dylan, where the artist makes a sincere effort to answer some fairly verbose questions about music and his outlook on it - he comments on Hank Williams, Buck Owens, Jesus, anti-communism, Vietnam, Lyndon Johnson, Chairman Mao, and a multitude of topical subjects. Disc 11 also has an 18-minute interview backstage in Detroit with deejay Alan Stone, in which Dylan sounds utterly exhausted.

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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.

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Tracks have been arbitrarily split for easier access.

Disc 11
Alan Stone Interview, Cobo Hall, Detroit; October 24,1965
Track 1101. WATM Radio Station - Part A 8:47
Track 1102. WATM Radio Station - Part B 10:24

Nat Hentoff Interview for “Playboy” Magazine, New York City October or November 1965
Track 1103. Playboy Interview - Part A 10:06
Track 1104. Playboy Interview - Part B 9:26
Track 1105. Playboy Interview - Part C 9:43
Track 1106. Playboy Interview - Part D 10:43
Track 1107. Playboy Interview - Part E 6:35
66 mins

Disc 12
Nat Hentoff Interview for “Playboy” Magazine, New York City October or November 1965
Track 1201. Playboy Interview - Part A 9:33
Track 1202. Playboy Interview - Part B 10:39
Track 1203. Playboy Interview - Part C 10:40
Track 1204. Playboy Interview - Part D 9:18
Track 1205. Playboy Interview - Part E 9:30
Track 1206. Playboy Interview - Part F 7:49
Track 1207. Playboy Interview - Part G 2:21
Track 1208. Playboy Interview - Part H 15:32
76 mins

Click here to order Bob Dylan releases.

TOM JONES - PARIS 1976

July 15, 2021 – 5:54 am

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TOM JONES
Paris 1976 [no label, 1CD]

Live at the Palais des Congres, Paris, France; March 16, 1976. Very good mono FM broadcast.

Thanks to letsgo for sharing the show at Dime.

letsgo noted:

This show was broadcast by France Inter with no DJ comments (edited anyway). After being restored, the sound is OK.

Lineage:
Reel - Zoom H4 - mono wav file - PC - Audacity (2 tracks created, volume, tracking, FLAC export) - md5 with TLH

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 if you encounter persistent problems downloading the files. Also email us if you have any rarities you’d like to share with our readers.

Track 01. Intro 0:22
Track 02. I Can’t Stop Lovin’ You 3:41
Track 03. Help Yourself 2:54
Track 04. Green, Green Grass of Home 3:42
Track 05. She’s A Lady 2:53
Track 06. Danny Boy 4:15
Track 07. The Way We Were/My Way 7:53
Track 08. Papa (Paul Anka) 3:14
Track 09. I Can’t Stop Lovin’ You reprise 1:00
Track 10. Delilah 3:27
Track 11. The Impossible Dream 3:36
Track 12. I’ll Never Gonna Fall In Love Again/Daughter Of Darkness 2:39
Track 13. I Who Have Nothing 2:26
Track 14. Love Me Tonight (fades) 1:24
44 mins

Click here to order Tom Jones releases.