WOLF ALICE - LONDON 2021

June 21, 2021 – 5:39 am

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WOLF ALICE
London 2021 [no label, 1CD]

Radio 1’s Big Weekend of Live Music. Live at the Maida Vale Studios, London, UK; May 28, 2021 (broadcast May 29, 2021).

Thanks to indykid for sharing the HDTV webcast at Dime.

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On June 4, 2021, English alternative rock band Wolf Alice released their third studio album, Blue Weekend. Their previous album was 2017’s Visions Of A Life. Blue Weekend received widespread critical acclaim from music critics, many of whom described it as their best album. On Metacritic, which assigns a normalized rating of 100, the album received an average score of 91, based on 19 reviews, indicating “universal acclaim”. It is currently the second highest-rated album of 2021 on the website. Blue Weekend debuted at number one on the UK Albums Chart with 36,182 copies sold in its first week, becoming Wolf Alice’s first number-one album.

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Track 01. Don’t Delete The Kisses 5:22
Track 02. Smile * 3:09
Track 03. Beautifully Unconventional 2:24
Track 04. Formidable Cool 3:41
Track 05. Bros 3:55
Track 06. The Last Man On Earth * 4:27
Track 07. Giant Peach 5:29
29 mins

* Tracks from Blue Weekend.

Lineup:
Ellie Rowsell - vocals, guitar
Joff Oddie - guitar
Theo Ellis - bass
Joel Amey - drums

Click here to order Blue Weekend.

JAZZ ON SUNDAY: CHARLES LLOYD - COPENHAGEN 1983

June 20, 2021 – 6:01 am

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CHARLES LLOYD QUARTET
Copenhagen 1983 [A Goody Speed/Pitch-adjusted Remaster, 1CD]

Copenhagen Jazz Festival, Montmartre, Copenhagen, Denmark; July 11, 1983. Very good FM broadcast.

Charles Lloyd may have played with jazz luminaries such as Cannonball Adderley, Chico Hamilton, Keith Jarrett and Jack DeJohnette, and, at one time, his sidemen included Herbie Hancock, Ron Carter and Tony Williams, he never became a household name. Lloyd is 83 this year.

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Thanks to goody for sharing the show at Dime.

Also, thanks to ethiessen1 for the artwork.

Lineage:
FM Broadcast > Cassette tapes
> Philips CDR765 > dBpowerAMP Music Converter 10.1
Goody’s additional lineage:
dBpoweramp (WAV) > Audition (Pitch Bender, various amounts; Update tracking; Auto align and center channels; Amplify +8dB) > TLH (FLAC Level 8; Align sector boundaries) > foobar2000 (tags)

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Track 01. Beyond Darkness 12:13
Track 02. Eyes Of Love 16:00
Track 03. Island Blues 10:30
39 mins

Lineup:
Charles Lloyd (ts, fl)
Michel Petrucciani (p)
Palle Danielsson (b)
Woody ‘Sonship’ Theus (d)

Click here to order Charles Lloyd releases.

FLEETWOOD MAC - LONDON 1970

June 19, 2021 – 6:01 am

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FLEETWOOD MAC
London 1970 [Rhythm & Blues Records R&B69, 1CD]

BBC Sunday Concert. Live at the Paris Theatre, London, UK; April 09, 1970. Very good mono FM broadcast.Bootleg released in January 2021.

Listening to these nine tracks it is hard to believe that this version of Fleetwood Man had only a few weeks left to run. An acid-damaged Peter Green would leave six weeks after this gig and they would never sound this good again. This high quality BBC recording includes contemporary hits such as The Green Manalishi and Rattlesnake Shake as well as album tracks featuring the melodic skills of Danny Kirwan (World In Harmony, Underway) and some unreleased rockers from Jeremy Spencer (Tiger, Great Balls Of Fire). - sleeve notes

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Track 01. Rattlesnake Shake 7:15
Track 02. Underway 6:56
Track 03. Stranger Blues 4:21
Track 04. World In Harmony 3:39
Track 05. Tiger 3:25
Track 06. The Green Manalishi 15:25
Track 07. Coming Your Way 7:33
Track 08. Great Balls Of Fire 2:42
Track 09. Twist And Shout 7:32
59 mins

Probable lineup:
Peter Green - guitar
Mick Fleetwood - drums
Jeremy Spencer - guitar
John McVie - bass
Danny Kirwan - guitar

Click here to order Fleetwood Mac releases.

BOB DYLAN - 1965 REVISITED (CD3/4 OF 14)

June 18, 2021 – 6:48 am

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BOB DYLAN
1965 Revisited [Great Dane, CD3/4 of 14]

Interviews and shows from 1965 plus Highway 61 sessions.

Bruce Eder, allmusic.com:

Discs Three, Four, and Five cover the period of the documentary Don’t Look Back, and features several performances and excerpts, but the best moments come from interviews by unctuous journalists; Dylan’s harangue about truth to Horace Judson of Time is also included here.

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Disc 3
Sheffield UK The Oval City Hall; April 30, 1965
Track 301. The Times They Are A-Changin’ 3:04
Track 302. To Ramona 4:28
Track 303. Gates Of Eden 7:45
Track 304. If You Gotta Go, Go Now 2:16
Track 305. It’s Alright Ma (It’s Life And Life Only) 8:37
Track 306. Love Minus Zero/No Limit 2:52

Interview snippets from the 1965 Tour
Track 307. London Airport April 26,1965, arrival area interview 0:15
Track 308. London Airport April 26,1965, conference room, press conference 2:44
Track 309. Sheffield City Hall April 30,1965, backstage after concert. Interview with Jenny De Yong and Peter Roche for the paper “Darts”, Sheffield University 0:47
Track 310. London Savoy Hotel May 9,1965, Horace Judson interview for “Time Magazine” (Unpublished) 6:23

Sheffield UK The Oval City Hall; April 30,1965
Track 311. The Times They Are A-Changin’ 1:12
Track 312. To Ramona 1:18

Leicester De Montfort Hall; May 2,1965
Track 313. The Lonesome Death Of Hattie Carroll 3:11

England Hotel Room; May 3 or 4, 1965
Track 314. Lost Highway (background vocals Joan Baez) 1:38
Track 315. I’m So Lonesome I Could Cry 0:24

Newcastle Hotel Room; May 6, 1965
Track 316. Piano tune 1:39

Newcastle City Hall; May 6, 1965
Track 317. Don’t Think Twice It’s All Right (incomplete) 1:08
Track 318. Don’t Think Twice It’s All Right 3:35

London Savoy Hotel
Track 319. It’s All Over Now Baby Blue 2:04

London Royal Albert Hall; May 9, 1965
Track 320. Piano-Harmonica Tune, backstage 0:53
Track 321. The Times They Are A-Changin’ and more 7:36

Miami Sales Convention speech, Levi’s Recording Studio London; May 12,1965
Track 322. Sales Convention Speech #1, #2 0:56
Track 323. If You Gotta Go, Go Now (drums Hugh Flint) 1:40
67 mins

Disc 4
Manchester UK Free Trade Hall; May 7,1965
Track 401. The Times They Are A-Changin’ 3:32
Track 402. To Ramona 4:58
Track 403. Gates of Eden 7:07
Track 404. If You Gotta Go, Go Now 2:54
Track 405. It’s Alright Ma (I’m Only Bleeding) 8:06
Track 406. Love Minus Zero-No Limit  4:59
Track 407. Mr Tambourine Man 6:24
Track 408. Talking World War III Blues 4:17
Track 409. Don’t Think Twice It’s All Right 3:51
Track 410. With God On Our Side 5:15
Track 411. She Belongs To Me 4:10
Track 412. It Ain’t Me Babe 4:19
Track 413. The Lonesome Death Of Hattie Carroll 6:41
Track 414. All I Really Want To Do 3:24
Track 415. It’s All Over Now Baby Blue 5:55
76 mins

Click here to order Bob Dylan releases.

ROSIE FLORES - SANTA MONICA 1987

June 17, 2021 – 6:13 am

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ROSIE FLORES
Santa Monica 1987 [no label, 1CD]

Live at KCRW Studios, Citybilly, Santa Monica, CA; December 15, 1987. Very good KCRW FM broadcast.

Thanks to persic for sharing the show at Dime.

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In a career that spans more than four decades, Flores has proven to be a musical chameleon. She’s jumped feet first into punk rock (with her ’70-era band, the Screaming Sirens), country of both the Bakersfield and Nashville varieties, the Texas singer/songwriter scene, alt-country, straight-up rock and rockabilly. So much so the latter that her onstage moniker for years was “The Rockabilly Filly.” But always and throughout, she has been the Chick with the Pick.

Over the years, Flores has been profiled in Guitar World, Premiere Guitar and Guitar Player magazines. Venuszine cited Flores   as one of the “Top 75 Greatest Female Guitarists of All Time” by Venuszine magazine. She performed at a tribute to Chuck Berry at the Rock ‘n’ Roll Hall of Fame. She has worked with, and helped propel back in to the spotlight, pioneer female rockabilly artists Wanda Jackson and Janis Martin. In 2007, she won a Peabody Award for her narration of the rockabilly documentary, Whole Lotta Shakin’. She worked with Martin in producing the latter’s 2012 album, The Blanco Sessions, which would prove to be Martin’s last recording.

Throughout, she released her own work. To name but a few, they include her solo debut, 1987’s Rosie Flores, 1995’s Rockabilly Filly, 1999’s Dance Hall Dreams, the acoustic live set Single Rose in 2004, 2009’s Girl of the Century and, in 2012, the aptly-named, self-produced Working Girl’s Guitar. - rosieflores.com

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Track 01. Introduction 0:12
Track 02. Heartache Train 3:09
Track 03. Truck Driver Blues 3:00
Track 04. I Gotta Know 2:41
Track 05. interview 1:10
Track 06. Sweethearts in Heaven 2:58
Track 07. God May Forgive You (But I Won’t) 3:22
Track 08. interview 2:18
Track 09. Lovin’ In Vain 2:13
Track 10. Somebody Loses, Somebody Wins 2:29
Track 11. Stop Lovin’ You 2:22
Track 12. interview 1:21
Track 13. Turn Around 2:51
Track 14. Christmas Just Ain’t Christmas Without You 4:29
Track 15. Crying Over You 3:57
Track 16. interview 2:00
Track 17. Your Heart Beats To A Different Drum 2:21
Track 18. You Told Me It’s Over 3:57
Track 19. Blue Side Of Town 3:52
Track 20. interview 1:17
Track 21. I Fall To Pieces 3:45
Track 22. Roc Bop 2:49
Track 23. Outro 0:35
60 mins

Lineup:
Rosie Flores - vocals, guitar
James Intveld - bass, vocals
Donald Lindley - drums
Marty Rifkin - pedel steel, saxophone
Jeff Ross - guitar

Click here to order Rosie Flores releases.

VAN MORRISON - INTO THE MUSIC LIVE!

June 16, 2021 – 8:24 am

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VAN MORRISON
Into The Music Live! [no label, 1CD]

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

Into The Music (1979) is Van Morrison’s 11th studio album where the Irish singer-songwriter sought to return to his more profound and transcendent style after the pop-oriented Wavelength. - wikipedia

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Thanks to robbiem for sharing the tracks at Dime.

robbiem noted:

Steppin’ Out Queen (performed once; no known recording)

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 1. Bright Side Of The Road 4:05
May 25, 2001; Sala Kongresowa, Warszawa, Poland
Track 2. Full Force Gale 2:36
September 25, 1986; Philipshalle, Duesseldorf, West Germany
Track 3. Troubadours 4:43
November 7, 2008; Hollywood Bowl, Los Angeles
Track 4. Rolling Hills 2:22
September 1, 1979; Royal Highland Showground, Ingliston, Scotland
Track 5. You Make Me Feel So Free 4:04
October 21, 1979; Berkeley Community Theatre, Berkeley, CA
Track 6. Angeliou 6:10
April 7, 1997; Ruth Eckerd Hall, Clearwater, FL
Track 7. And The Healing Has Begun (with Richard Gere) 8:29
July 2, 1994; Corn Exchange, Cambridge, UK
Track 8. It’s All In The Game 5:56
September 20, 1999; Guildhall, Portsmouth, UK
Track 9. You Know What They’re Writing About 4:59
September 20, 1999; Guildhall, Portsmouth, UK
44 mins

Click here to order Van Morrison releases.

SUZANNE VEGA - NEW YORK 1989

June 15, 2021 – 5:42 am

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SUZANNE VEGA
New York 1989 [no label, 1CD]

Live at the Bottom Line, New York, NY; July 7, 1989 (late show). Very good soundboard.

Thanks to lilpanda for sharing the show at Dime.

lilpanda noted:

Suzanne comfortable at home to introduce new (sometimes unfinished) songs from her third LP, Days Of Open Hand (1990), with band or solo. Crazy wanky mix at times of the band, the drums sound like they’re on Mount Olympus and she is almost drowned out. Interestingly, the set has very little from her self-titled debut album. Predictions and Big Space were not played very often when she toured ‘Open Hand’ in 1990.

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Lineage:
unknown low gen cassette > cdr > eac > adobe* > cdwave
* eq and minor hiss reduction

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Track 01. Solitude Standing 6:39
Track 02. Small Blue Thing 6:01
Track 03. Ironbound/Fancy Poultry 6:34
Track 04. Left of Center 4:06
Track 05. Gypsy 4:42
Track 06. Neighborhood Girls 3:41
Track 07. Intro to Cuba 2:06
Track 08. Cuba aka Room Off The Street 3:16
Track 09. Predictions 4:54
Track 10. Glastonbury tale 1:33
Track 11. Big Space 3:19
Track 12. Pilgrimage 5:15
Track 13. Men In A War 5:17
Track 14. Luka (with band intros) 4:55
Track 15. Wooden Horse 6:20
Track 16. Tom’s Diner 3:15
Track 17. Marlene On The Wall 4:09
76 mins

Click here to order Suzanne Vega releases.

PETER GABRIEL - PARIS 1980

June 14, 2021 – 5:32 am

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PETER GABRIEL
Paris 1980 [no label, 2CD]

Live at the Olympia, Paris, France; September 10, 1980. Very good soundboard.

Peter Gabriel rose to fame as the original lead singer of the progressive rock band Genesis. After leaving Genesis in 1975, he launched a successful solo career with “Solsbury Hill” as his first single. His 1986 album, So, is his best-selling release, featuring his most successful single, “Sledgehammer”. He co-founded the WOMAD festival in 1982, and has continued to focus on producing and promoting world music through his Real World Records label. In 1980, he released the anti-apartheid single “Biko”. - wikipedia

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Thanks to ipietri for sharing the show at Dime; rdwm remaster.

floydee, Dime:

Not just a uncirculated Soundboard recording, this might be the best Peter Gabriel Soundboard I’ve ever heard (although it would be nice to see what rdwm did to the original, or if the original would pop up).

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Disc 1
Track 101. Intruder 5:22
Track 102. Start/I Don’t Remember 7:21
Track 103. Solsbury Hill 4:56
Track 104. Family Snapshot 5:12
Track 105. Milgram’s 37 4:54
Track 106. Modern Love 4:34
Track 107. Not One Of Us 6:02
Track 108. Lead A Normal Life 3:58
Track 109. Moribund The Burgermeister 5:04
48 mins

Disc 2
Track 201. Mother Of Violence 3:46
Track 202. Humdrum 5:13
Track 203. Games Without Frontiers 3:22
Track 204. White Shadow 6:36
Track 205. And Through The Wire 4:44
Track 206. I Go Swimming 4:33
Track 207. Biko 8:47
Track 208. On The Air 6:23
Track 209. Here Comes The Flood 2:32
46 mins

Lineup:
Peter Gabriel - vocals, keyboards
John Ellis - guitar
Jerry Marotta - drums
Larry Fast - keyboards
John Giblin - bass

Click here to order Peter Gabriel releases.

JAZZ ON SUNDAY: ANDREW HILL - CHICAGO 1988

June 13, 2021 – 6:36 am

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ANDREW HILL
Chicago 1988 [no label, 1CD]

Chicago Jazz Festival. Petrillo Music Shell, Chicago, IL; September 4, 1988. Very good NPR broadcast.

Andrew Hill’s main influences were pianist Thelonious Monk, Bud Powell and Art Tatum. Uniquely innovative, he strove to always be advancing while staying grounded in the traditions of his influences. He would often play against the rhythmic pulse and move into different time signatures. Hill recorded for Blue Note Records for nearly a decade, producing a dozen albums. Jazz critic John Fordham noted that “his status remained largely inside knowledge in the jazz world for most of his career.” Hill passed away in 2007 at the age of 75.

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Thanks to Mike Millard and carville for sharing the show at Dime.

carville noted:

Recorded from a live FM broadcast by the late and much missed MM, using unknown equipment. He made a copy of his now-lost master on a Maxell XLII90 cassette using Dolby C not long afterwards. That copy was digitized in 2021, using a refurbished Sony TC WR635S cassette deck and Goldwave.

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Track 01. Chilly Mac 9:58
Track 02. Domani 17:49
28 mins

Lineup:
Andrew Hill - piano
Clifford Jordan - tenor sax
Rufus Reid - bass
Ben Riley - drums

Click here to order Andrew Hill releases.

JAMES TAYLOR - BEVERLY HILLS 1981 [MILLARD TAPE]

June 12, 2021 – 6:01 am

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JAMES TAYLOR
Beverly Hills 1981 [Mike Millard First Generation Tapes via JEMS, 2CD]

The Lost and Found Mike the MICrophone Tapes Volume 81. Live at the Wilshire Theatre, Beverly Hills, CA; May 3, 1981. 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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James Taylor - Wilshire Theatre, Beverly Hills, CA; May 3, 1981

We continue to move in parallel by volume and year in the Lost and Found series, arriving at 81 on both counts and a lovely performance by James Taylor. He was on tour in support of his tenth album, Dad Loves His Work, which yielded the single “Her Town Too,” a duet with JD Souther, who joins for last several songs of this show.

Taylor offers a long, luxurious set that mixes originals and his many beloved covers, from “How Sweet It Is” to “You’ve Got A Friend.” It is a warm, inviting performance captured marvelously by Mike Millard from the sixth row in typical Mike the Mike fidelity and clarity. Taylor is backed by a crack band, led by ubiquitous guitar player to the stars, Waddy Wachtel, joined by Billy Payne on keyboards and Rick Marotta on drums among other notable contributors. James himself is in fine voice and charming throughout a winning evening.

Mike’s recording is highly satisfying, balancing the ambience of the theatre and up-close sound.

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Here’s what Jim R recalled about James Taylor in Beverly Hills 1981:

I attended the James Taylor concert with Mike Millard on May 3, 1981. It was at the Wilshire Theatre on Wilshire Blvd in Beverly Hills, not to be confused with the other Wilshire Theatre on 8th St in LA. A group of us met there; listening carefully, I can hear friends that sat next to us. This was helpful in that we knew they would be quiet and form a buffer. We sat in the sixth row on the aisle, just left of center, right in our sweet spot. We had very devoted fans around us.

Being an LA venue meant we had to get our choice seats from a ticket broker. Fortunately, we had a working relationship with a few of them and were able to buy our tickets at a decent price. No cameras were allowed, so I laid low and left my camera equipment at home.

The Wilshire Theatre is now called the Saban Theatre, with capacity a scant 2000. It opened in 1930 as a movie palace and in 1981 was converted into a stage venue. The venue naturally had excellent acoustics. Being in the sixth row was quite the intimate setting, fitting for a James Taylor concert.

JT, in addition to being a great songwriter, was quite the storyteller as you will hear throughout the show. As a side note, I had Mike make my copy in the next day or two after the concert.

I hope you enjoy the show as much as Mike and I did.

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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 to our tag-team partners: Professor Goody, who provided the pitch tuning guidance, and mjk5510, who keeps the Millard/JEMS trains not only running on time, but looking smart in their custom CD artwork.

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
Transfer: Mike Millard First Generation Cassettes > Nakamichi CR-7A (azimuth adjustment; Dolby On) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > FLAC

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Disc 1
Track 101. You Can Close Your Eyes 9:03
Track 102. Mona 3:23
Track 103. Wandering 4:24
Track 104. Sweet Baby James 4:10
Track 105. Riding On A Railroad 4:17
Track 106. How Sweet It Is 7:51
Track 107. Stand And Fight 5:11
Track 108. Brother Trucker 3:51
Track 109. Hey Good Lookin 5:18
Track 110. Walking Man 4:36
Track 111. B.S.U.R. 3:55
Track 112. Hard Times 4:11
Track 113. It’s Gonna Work Out Fine 4:54
Track 114. Up On The Roof 5:38
Track 115. Fire And Rain 4:50
76 mins

Disc 2
Track 201. Carolina In My Mind 8:58
Track 202. Millworker 4:54
Track 203. Twelve Gates To The City 3:48
Track 204. Steamroller Blues 7:00
Track 205. I Will Not Lie For You 4:33
Track 206. Daddy’s All Gone 4:32
Track 207. Handy Man 4:39
Track 208. Her Town Too 5:17
Track 209. You’re Only Lonely 5:11
Track 210. Faithless Love 4:22
Track 211. Your Smiling Face 3:12
Track 212. Mexico 3:52
Track 213. Country Road 5:33
Track 214. Money Machine 8:57
Track 215. You’ve Got A Friend 5:25
81 mins

Click here to order James Taylor releases.

BOB DYLAN - 1965 REVISITED (CD1/2 OF 14)

June 11, 2021 – 6:22 am

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BOB DYLAN
1965 Revisited [Great Dane, CD1/2 of 14]

Interviews and shows from 1965 plus Highway 61 sessions.

Bruce Eder, allmusic.com:

A gift to Dylan archaeologists from those enterprising bootleggers at Great Dane, who seem bent on becoming the underground’s answer to Bear Family Records. 1965 Revisited is a collection of every unreleased recording — outtakes, unmixed vocal/acoustic guitar tracks, concerts, interviews, talk show appearances - that Dylan is known to have done that year, 14 CDs’ worth. The results are imposing, to say the least. The set kicks off with a CD full of outtakes from the Bringing It All Back Home sessions from January 1965, before the backing band was added, and Dylan’s complete appearance on ABC-TV’s Les Crane Show (New York, February 17, 1965).

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Disc 1
Bringing It All Back Home outtakes, Columbia Studio A New York City; January 13-15,1965
Track 101. I’ll Keep It With Mine #1 (Mono mix with intro) 4:21
Track 102. It’s All Over Now Baby Blue #1 (mono mix) 3:38
Track 103. Subterranean Homesick Blues #1 (Mono mix) 2:56
Track 104. Farewell Angelina (Mono mix) 5:26
Track 105. You Don’t Have To Do That (Mono mix) 0:55

January 15,1965; with Bruce Langhorne on 2nd guitar
Track 106. She Belongs To Me #1 (Mono mix) 3:08
Track 107. Love Minus Zero-No Limits #1 (Mono mix) 3:49

Backed by Al Gorgoni (guitar), Kenny Rankin (guitar), Paul Griffin (piano), Joe Macho Jr (bass), Bobby Gregg (drums)
Track 108. If You Gotta Go, Go Now #1 (Original mono mix) 2:34
Track 109. If You Gotta Go, Go Now #1 (Mono acetate mix) 2:33
Track 110. If You Gotta Go, Go Now #2 (Mono mix with intro) 3:02
Track 111. If You Gotta Go, Go Now #2 (Stereo mix) 2:55
Track 112. I’ll Keep It With Mine #1 (Stereo acetate mix) 3:14

Les Crane Show, New York; February 17, 1965
Track 113. It’s All Over Now Baby Blue 5:19
Track 114. interview 18:33
Track 115. It’s Alright Ma 7:41
70 mins

Disc 2
Santa Monica Civic Auditorium; March 27,1965
Track 201. To Ramona 4:45
Track 202. Gates Of Eden 7:46
Track 203. If You Gotta Go, Go Now 2:43
Track 204. It’s Alright Ma (I’m Only Bleeding) 8:19
Track 205. Love Minus Zero-No Limit 4:37
Track 206. Mr Tambourine Man 5:28
Track 207. Don’t Think Twice It’s All Right 3:40
Track 208. With God On Our Side (incomplete) 1:25
Track 209. She Belongs To Me 3:47
Track 210. It Ain’t Me Babe (incomplete) 1:25
Track 211. The Lonesome Death Of Hattie Carroll (incomplete) 0:35
Track 212. All I Really Want To Do 2:43
Track 213. It’s All Over Now Baby Blue 5:34
53 mins

Click here to order Bob Dylan releases.

EMMYLOU HARRIS - CHICAGO 1978

June 10, 2021 – 6:05 am

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EMMYLOU HARRIS & HOT BAND WITH BUCK WHITE
Chicago 1978 [Hobo EU, 1CD]

PSB Soundstage, Chicago, ILL; Simulcast on WXRT 93.1 MHz FM; October 19, 1979. The Catalyst, Santa Cruz, CA; June 15, 1978; KFAT-FM.

Emmylou Harris made a major live appearance on the famed PBS Soundstage, in October 1978, featuring Emmylou regulars The Hot Band, who were bolstered here by country vocal group, The Whites - Buck, Sharon and Cheryl.

‘Quarter Moon In A Ten Cent Town’ (January 1978) was the final album issued prior to the recordings on this CD. The album is heavily represented by 6 tracks here: Two More Bottles Of Wine, Easy From Now On, To Daddy, My Songbird, I Ain’t Living Long Like This and Leavin’ Louisiana In The Broad Daylight (the latter pair written by Hot Band guitarist Rodney Crowell). Delving back into the past are versions of The Angels Rejoiced Last Night (included on the Gram Parsons album ‘Sleepless Nights’), Satan’s Jewel Crown (’Elite Hotel’) and Luxury Liner (from the album of the same name).

Bonus tracks included on this CD are from a KFAT FM Radio broadcast from Santa Cruz, California in June ‘78. This was an unusual performance as it featured a trio format consisting of Emmylou with bluegrass multi-instrumentalist Ricky Skaggs (by then a Hot Band fixture, having replaced Rodney Crowell at the end of the previous year) and upright bassist Roy Huskey Jr.

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PBS Soundstage - WXRT FM; October 19, 1978
Track 01. Two More Bottles Of Wine 3:55
Track 02. Easy From Now On 3:08
Track 03. To Daddy 2:55
Track 04. Luxury Liner 4:05
Track 05. Even Cowgirls Get The Blues 4:15
Track 06. My Songbird 3:15
Track 07. My Window Faces The South 2:42
Track 08. Tumbling Tumbleweeds 3:03
Track 09. Home 4:16
Track 10. Swing Down Sweet Chariot 2:28
Track 11. I Ain’t Living Long Like This 6:34
Track 12. The Angels Rejoiced Last Night 2:30
Track 13. Leavin’ Louisiana In The Broad Daylight 3:40
Track 14. Hallelujah I’m Ready To Go 3:41
51 mins

KFAT-FM; The Catalyst, Santa Cruz, CA; June 15, 1978
Track 15. Could You Love Me-The Green Rolling Hills 7:31
Track 16. I Believe Jesus Loves Me 4:07
Track 17. If I Needed You 4:52
Track 18. Satan’s Jewel Crown 4:49
Track 19. Keep On The Sunny Side 3:53
Track 20. Under The Weepin’ Willow 3:51
29 mins

Click here to order Emmylou Harris releases.

VAN MORRISON - ST DOMINIC’S PREVIEW/HARD NOSE LIVE!

June 9, 2021 – 8:20 am

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VAN MORRISON
S
aint Dominic’s Preview/Hard Nose The Highway Live! [no label, 1CD]
Fan compilation. Various dates and venues. Very good audio - mix of radio broadcasts and audience recordings?

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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Saint Dominic’s Preview (1972) is the sixth studio album by Northern Irish singer-songwriter Van Morrison. Rolling Stone declared it “the best-produced, most ambitious Van Morrison record yet released.” The diversity of the material on the album highlighted Morrison’s fusing of Celtic folk, R&B, blues, jazz and the singer-songwriter genre.

Stephen Holden in his 1973 Rolling Stone review said: “Hard Nose The Highway is psychologically complex, musically somewhat uneven and lyrically excellent. Its surface pleasures are a little less than those of St Dominic’s Preview and a great deal less than those of Tupelo Honey, while its lyric depths are richer and more accessible than those of either predecessor. The major theme of Hard Nose is nostalgia, briefly but firmly counter-pointed by disillusion.”

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Gypsy and Almost Independence Day from Saint Dominic’s Preview not performed live.

Saint Dominic’s Preview
Track 01. Jackie Wilson Said (I’m In Heaven When You Smile) 2:53
(July 11, 1990; Casino de Montreux, Montreux, Switzerland)
Track 02. I Will Be There 2:25
[with the BBC Big Band Orchestra] (August 6, 1995; Festival Theatre, Edinburgh, Scotland)
Track 03. Listen To The Lion 7:04
[with The Danish Radio Big Band] (October 15, 1986; Radiohuset Studio, Copenhagen, Denmark)
Track 04. Saint Dominic’s Preview 6:26
(December 31, 2019; Stormont Hotel, Belfast, Northern Ireland)
Track 05. Redwood Tree 3:18
(April 1972; Wally Heider Studios, San Francisco)

Hard Nose The Highway
Track 06. Snow In San Anselmo 4:13
(July 5, 1997; Deichtorhallenplatz, Hamburg, Germany)
Track 07. Warm Love 4:13
(November 12, 2017; Hammersmith Apollo, London)
Track 08. Hard Nose The Highway 3:48
(February 10, 2000; The Apollo, Oxford, UK)
Track 09. Wild Children 6:36
(November 16, 1974; Anaheim Convention Center, Anaheim, CA)
Track 10. The Great Deception 4:38
(March 11, 1973; Marin Veterans Memorial Auditorium, San Rafael, CA)
Track 11. Bein’ Green 4:10
(June 29, 1973-late show; Santa Monica Civic Auditorium, Santa Monica, CA)
Track 12. Autumn Song 4:04
(November 2, 1973; Radio Telefos Eireann Studios, Dublin)
Track 13. Purple Heather 4:53
(November 26, 1978; The Roxy, Los Angeles)
59 mins

Click here to order Van Morrison releases.

PINK FLOYD - SHEFFIELD 1970

June 8, 2021 – 6:21 am

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PINK FLOYD
Sheffield 1970 [1st gen JFE master, 2CD]

Live at the City Hall, Sheffield, UK; December 22, 1970. Very good mono audience recording.

Thanks to original uploader Jimfisheye; and to frogster for sharing the show at Dime.

Jimfisheye’s notes:

This is an amazing upgrade to previous higher generation copies! CWTAE is intact here! Sadly, STCFTHOTS is still not. This was always an interesting artifact with not only rare material but an excellent performance throughout. What you could make out from it, anyway. Now we have rare material, excellent performance, and strong good sound!

This is a mono recording of a live performance that was mixed in quadrophonic surround sound that was captured in close proximity to one of the surround speaker stacks in the room. I’m guessing a side surround speaker as opposed to the rear one. If this was closer to the stage, you’d hear more natural live drums and cymbals. If it was near the rear surround, the band would be further away sounding.

The mono capture of this performance and live mix with sound in motion gives you a perspective that alternates from the perimeter of a surround soundstage to half way across a room from a band, to immersed in sound from all directions in a whole room used as a performance space.

A characteristic of lower fidelity recording devices and microphones is that the sound pickup diminishes quicker with distance. Sounds close to the mic may retain surprising fidelity but far away sounds degrade more. Tape effects to instruments panned directly to this close proximity surround speaker come through with immediate up front fidelity.

There are moments throughout the show where guitar, keys, or voices are panned to the surround speakers and you hear the proximity and these moments jumping out at you. The moments when the band is more boosted in the PA in general increase the overall brightness in this recording and sound fuller and closer. You can hear in AHM that between adding the (naturally loud) orchestra and the excitement of the finale and the piece, the band is amplified more in the PA and it hits this recording stronger.

Of course the loudest moments like the scream push the recording technology too far and are degraded as is often the case. However, the damage in this 1st gen copy is far less than in previously circulating higher generation copies. Distortion damage can really get exponential in generational copies.

You hear evidence of just how wild this show was with the surround sound mix due to the recording perspective even though this is a mono recording. You hear this clearly during the DJ Jimmy Young tape in APB. It sounds like he is being panned around the room in a big circle. You hear it right on top of you when it’s in the close speaker. You hear room reflections from sound from a further speaker to the recorder hit the recording mic before the direct sound from that far speaker. That’s where that almost reverse reverb effect is coming from.

In STC and ASOS especially you can hear the keyboards pulsing from this effect. These were originally sounds that were spinning fast 360 deg around the room. The mono perspective next to the speaker turns into pulsing every time the rotation of the pan hits that speaker. The motorcycle sound foley in AHM is right in this speaker and especially pronounced for it.

The applause from those nearest the recording device is the most well recorded and dynamic content on the tape. Turning the volume up on the recording to try to focus on the music with the applause at this level would cause hearing damage if it didn’t blow out a speaker first!

The tape speed varies throughout the recording with longer sections running at unique speeds and many isolated fluctuations. Most of the isolated speed artifacts consist of the tape suddenly slowing down and returning to (a sometimes different) speed a moment later, consistent with a tape that was physically snagging in the transport. That the effect on the recording would be the opposite if this had been happening on the original recording deck suggests this happened with a playback deck used on a later transfer of the original or earlier generation copy.

The taper stopped the recording between songs to conserve tape. There are a few times that he would restart the recording only to stop it again a moment later - the result of trying to anticipate the start of the next song to not miss it but then realizing they weren’t quite ready to start playing yet and stopping the recording again. Every stop/start resulted in a loud mechanical clank that was the loudest element of the recording.

The tape has a very high level of broadband noise. This is exaggerated from either this copy or an earlier generation being encoded in Dolby but not decoded on playback. Accurate decoding of the Dolby is not possible from this copy as it will no longer track the pre-emphasis correctly. In the long and short of things, while the Dolby system will not decode the tape correctly, the pre-emphasis probably helps offset some of the high end attenuation caused by various other factors. At the same time, however, the noise is boosted in the quieter parts.

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Jimfisheye’s mastering notes:

This is originally a mono recording that was played back on a stereo deck for later generation copies. This makes two copies of the original mono track from two different areas of the physical tape into the two stereo channels. This can either result in one of the two channels being clearly the better copy or sometimes different elements of the recording better in each channel. The left channel alone ultimately has the better preserved recording.

The speed was corrected using iZotopeRZ v8 wow and flutter correction and Elastique Pro 3 integrated in Reaper. Sections in ASOS and AHM had some severe wow and flutter problems on top of the speed coasting around that was beyond repair in the past and rendered these pieces nearly unlistenable. The new correction in iZotopeRX v8 is the first software to deliver results with this that aren’t mutilated! This went better than expected! The results still coasted around in the base pitch/speed but now these sections along with the rest could be corrected by ear in Reaper. There are still spots throughout the recording with mild speed warbles but the overall speed repair was a success.

The mechanical sounds from the start/stops (the loudest content in the recording) were removed. I kept all the short fragments from the parts where multiple stop/starts were made in anticipation of the song starting and let them segue with no alteration simply to preserve the ambient content. Some of the segues were seamless sounding as the ambience was similar enough sounding while others are obvious cuts. I removed the most obvious microphone clanking and rustling artifacts throughout. I probably missed some. I heavily dynamic eq’d the applause after songs to preserve the ambience as possible while dialing back the hearing damage potential.

Broadband noise was reduced with iZotopeRX v8. The more recent sounding layer of noise in the recording responded well to noise reduction. Older sounding layers of noise that extend well down into the midrange did not. Reducing all hiss to lower levels than the music at all times was not possible. 50Hz hum and the harmonic at 100Hz were removed spectrally with iZotopeRX v8.

There was some level of compression in the recording during the louder parts and then the original recording was likely turned down throughout as the show got louder. I normalized this as well as possible. The parts where you get louder moments of some instruments and sounds from the perspective next to the surround speaker were left alone. Ultimately this is an element as heard from this spot in the audience. You could say this is an example of what it was like to be a little too close to one of the surrounds at an old Pink Floyd show!

You actually get an interesting mix between moments of a live band across a room, an amplified band boosted with a PA filling a room, and discrete moments of live surround sound play peppered throughout and really filling the room. In a strange way, this mono recording delivers more of their surround mix than it should! EQ balanced throughout to restore as much original balance as possible from the recording without introducing other artifacts or distortions.

Tools used include: Reaper v6.15, iZotopeRX v8, Waves linear phase multiband comp, Universal Audio multiband comp, ReaEQ, SOX in XLD for 44.1k downsample copy

Reviewing my mastering of the previous 2nd gen (as labeled) copy of this recording I hear a desparate struggle to focus content throughout the recording with an overall harsh processed quality to show for it. It was a way to at least acknowledge this performance. This copy may actually let you enjoy the performance!

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Neonknight’s notes:

Tape 2 was recorded hotter than tape 1 so I reduced the gain on my Tascam. Note how the songs are in the wrong order so as to achieve a good fit for the cassettes.

Tape 1 D-C120
Side A: Alan’s Psychedelic Breakfast / The Embryo / Fat Old Sun
Side B: Atom Heart Mother / Atom Heart Mother Reprise

Tape 2 AD-C60
Side A: Careful With That Axe, Eugene / Set The Controls For The Heart Of The Sun
Side B: A Saucerful Of Secrets

It quickly became obvious when Haze sent me his tapes to transfer that we were onto something very special. Along with a major leap in sound quality compared to the previous best version supplied by petef451, for the first time there is no cut in Roger’s scream and we have more tuning up and Roger’s introduction. ASOS also features Roger introducing the song.

Haze is the Founder and CEO ‘Woolly Hat Recordings’, est. 1979. He is known as coolcats58 on Yeeshkul.

Haze recalls: “I started selling tapes and vinyl to supplement my student grant in about 1979 and “retired” in 1981. During that time I wasn’t the only person selling bootlegs to Sheffield University students but I was the only one with a tape of the Floyd show from 1970.

“In 1979 a friend of mine asked if I’d like to borrow some more tapes to add to the catalogue “for a few beers”. He had an older brother who taped a lot of radio shows and some gigs at the City Hall in the early ’70s. The first batch of tapes included Captain Beefheart and this Floyd show. I copied them onto TDK tapes using a Sony deck for playback and a JVC deck to record. It was from these copies that I duplicated the tapes for sale. I can’t remember for sure what brand of tape the masters were but I think they were Philips.”

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Lineage:
TDK D-C120 and TDK AD AD-C60 1st gen normal position cassettes recorded with Dolby on (1979) > Technics RS-B565-MH (Dolby off) > Tascam SD-20M > Reaper v5.983 (trimming off dead air) > FLAC (24bit/96kHz) > Reaper v6.15 (JFE mastering) > FLAC (24bit/96kHz)

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These tracks are no longer available for sharing.

Disc 1
Track 101. Alan’s Psychedelic Breakfast 28:50
Track 102. The Embryo 14:47
Track 103. Fat Old Sun 16:08
Track 104. Careful With That Axe, Eugene 16:36
77 mins

Disc 2
Track 201. Set The Controls For The Heart Of The Sun 12:36
Track 202. A Saucerful Of Secrets (with Celestial power loss) 20:53
Track 203. Celestial Voices 6:09
Track 204. Atom Heart Mother 33:26
Track 205. Atom Heart Mother Reprise 3:08
77 mins

Click here to order Pink Floyd’s Discovery boxset.

GREEN ON RED - FRANCE 1985

June 7, 2021 – 5:57 am

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GREEN ON RED
France 1985 [no label, 1CD]

La Primavera de Bourges” Festival. Live in Bourges, Cher, France; April 7, 1985. Very good mono soundboard.

Desert rock or alternate country or cow punk or even roots rock, Green On Red’s Time Ain’t Nothing (from 1985’s No Free Lunch) continue to leave a lump in the throat for those who were young and floundering but found a point of reference or even solace in the song. That’s what country does to you.

From the collection of KNEES. Thanks to Les_Mountain for sharing the show at Dime.

Notes:

Warts (almost none): first few seconds mix is a bit odd. Micro-gap between #09&10 now seamless.

Green On Red’s “Gas Food Lodging” LP had just been released, one the finest albums recorded in the ’80s. What a freakin’ great band - 45-min time slot, so essentially zero breaks between songs - who needs ‘em?! Maybe GonR shoulda done more afternoon gigs as this is phenomenal, but in ‘85/86 there weren’t many better bands touring.

Lineage:
mono soundboard > unknown recorder (VHS?) > master mono soundboard (VHS?) analog tape > 1st generation cassette > 2nd(?) generation cassette, Dolby B on

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 0:28
Track 02. We Shall Overcome 2:18
Track 03. Keep On Moving 4:05
Track 04. Sea Of Cortez 5:39
Track 05. Hair Of The Dog 2:14
Track 06. Gravity Talks 2:16
Track 07. 5 Easy Pieces 2:27
Track 08. Sixteen Ways 3:17
Track 09. (Gee Ain’t It Funny How) Time Slips Away 2:53
Track 10. Cheap Wine 3:18
Track 11. Down To The Bone 4:05
Track 12. The Drifter 3:10
Track 13. Snake Bit 6:40
43 mins

Lineup:
Dan “Big Daddy” Stuart - vocals, guitar, vocals
Chuck “Billy The Kid” Prophet IV - guitar, vocals
Chris “Chez” Cacavas - keyboards, guitar?, vocals
Jack “Jake” Waterson - electric bass
Alex “Big Dog” MacNicol (R.I.P. 2004) - drums, percussion

Click here to order Green On Red releases.