domenica 27 luglio 2014

Kraftwerk - 2014-03-18 - Los Angeles, CA (AUD/FLAC)

(Audience FLAC)

Walt Disney Concert Hall,

The Catalogue - 12345678 - Autobahn (7:30pm - early show)

CA-14 (cardioids) > CA-9200 > GAKables mini starquad > Edirol R-09HR (@ 24bit/96kHz) > Audacity (fades, eq, amplify, export as 16bit/44.1kHz) > CD Wave (track splits) > TLH (flac level 8)


balcony, center

01. vocoder intro
02. Autobahn
03. Kometenmelodie 1
04. Kometenmelodie 2
05. Mitternacht
06. Morgenspaziergang
07. Geiger Counter
08. Radio-Activity
09. Trans-Europe Express / Abzug / Metal On Metal
10. The Robots
11. Spacelab
12. Das Model
13. The Man-Machine
14. Numbers
15. Computer World 2
16. It's More Fun To Compute / Home Computer
17. Computer Love
18. Tour De France
19. Tour De France Etape 2
20. Boing Boom Tschak
21. Techno Pop
22. Musique Non Stop

Joe Cocker - 1968 - BBC Radio Sessions (FM/FLAC)

(FM broadcast FLAC)

Rebroadcast on Alan (Fluff) Freeman's Satuday Rock Show (possibly 1989?)

BBC Radio 1 FM>Marantz ST320L Tuner>Aiwa or Teac cassette recorder (master cassette)>Wave capture, track markers and burned to cdr using Magix audio cleaner>Accuraterip to flac level 8.

01 - Run, Shakers Life
02 - With A Little Help From My Friends
03 - Marjorine
04 - Change In Louise
05 - Can't Be So Bad
06 - Let's Go Get Stoned
07 - That's Your Business
08 - Delta Lady
09 - Hitchcock Railway
00 - Fluff with song titles.

Runtime 00:31:25

The Cure - 1979-12-12 - Amsterdam, NL (SBD/FLAC)

(Soundboard FLAC)

De Melkweg,

Source: SBD
Lineage: Unknown
Quality: A

This Show is Complete

01 - Seventeen seconds - 3:55 (early version, alt lyrics)
02 - Accuracy - 2:38
03 - M - 2:52 (early version, alt lyrics)
04 - 10.15 Saturday night - 3:13
05 - Play for today - 3:37 (early version, alt lyrics)
06 - In your house - 3:34 (early version, alt lyrics)
07 - Fire in Cairo - 2:58
08 - A forest - 4:04 (early version, alt lyrics)
09 - Three imaginary boys - 3:05
10 - Another journey by train - 2:32
11 - Jumping someone else's train - 2:36
12 - Killing an Arab - 3:22

First encore :
13 - Subway song - 2:25
14 - Grinding halt - 3:50

Second encore :
15 - Boys don't cry - 2:35
16 - A forest - 5:30 (early version, alt lyrics, introduced as "At Night")

Total: 42:46

sabato 26 luglio 2014

Neil Young - 2014-07-25 - Monchengladbach, DE (AUD/FLAC)

(Audience FLAC)

Neil Young and Crazy Horse 
Mönchengladbach, Germany 
Warsteiner HockeyPark 
25. Juli 2014 

Taping-location: In the Warsteiner Hockey Park, On the Diebels Alt -Floor, Jägermeister-Block, 
Berentzen-Doppelwacholder-Standing-Area, Rügenwalder Mühle-Leberwurst-V.I.P.-lounge, second row, right in front of the stage in the middle 
Sound-quality: seems to be excellent 


01 - Audience 
02 - Love and only love 
03 - Powderfinger 
04 - Standing in the light of love 
05 - Days that used to be 
06 - Living with war 
07 - Love to burn 
08 - Name of love 
09 - Blowin' in the wind 
10 - Heart of gold 
11 - banter 
12 - Barstool blues 
13 - Psychedelic pill 
14 - Cortez the killer 
15 - Rockin' in the free world 
16 - audience 
17 - Who's gonna stand up and save the earth? 

Parking-costs: 5,- € 
Ticket-costs: 66,90 € 
weather-conditions (due to massive requests!!): warm, about 22°C 
catering: one „Hacki Wimmer-Teller“ (2 Bratwürstchen with Brötchen and Senf), another „Dietmar Danner – plate“ (a Nackensteak with potato-wedges), two „Wolfgang Kleffs“ (white Tequila , Sangrita picante and Orange juice), an „Allan Simonsen-cup-cake“ (black-white-green-coloured), diverse Traktor - smoothies 

Equipment: Zoom H4N - Sound professional microphones SP-CMC-8 - SP-SPSB-8 Sound Professionals 

lunedì 21 luglio 2014

Neil Young - 2014-07-12 - London, UK (AUD/FLAC)

(Audience FLAC)

Barclaycard British Summer Time
Hyde Park
London, England

Neil Young - vocals, electric guitar, acoustic guitar, harmonica
Frank Sampedro - electric guitar, keyboard, vocals
Ralph Molina - drums, vocals
Rick Rosas - bass
Dorene Carter - backing vocals
YaDonna West - backing vocals

Source: Audience recording > 1 Sony ECM-MS957 (set on 120° spread and hand held) > Sony PCM-M10 > wav24/96
Lineage: wav 24/96 > Adobe Audition 3 > iZotope Ozone 5 Advanced > iZotope RX3 Advanced >
wav 16/44.1 > CD Wave > TLH > Flac 16

Recorded from DFC about 90 feet from front of the stage.

01 crowd/tuning
02 Love And Only Love
03 Goin' Home
04 Days That Used To Be
05 After The Gold Rush
06 Love To Burn
07 Separate Ways
08 Only Love Can Break Your Heart
09 Blowin' In The Wind
10 Heart Of Gold
11 Barstool Blues
12 Psychedelic Pill
13 Cinnamon Girl
14 Rockin' In The Free World
15 encore break

encore 1
16 Who's Gonna Stand Up And Save The Earth?
17 encore break

encore 2
18 Down By The River

It was a very hot day and like most I spent much of the afternoon sitting down on the grass. There were two large screens which gave a pretty good view of what was happening on stage. When Neil came on almost everyone stood up but I didn't. After a while I gave in because the screens were blocked out by bodies and I couldn't see a thing apart from shaking bums.

During "Down By The River" a young man came over to me and wanted to start talking. He asked, as you'll hear "Is it as good as the Danny Whitten version" but I waved him away. If he's reading this "PLEASE THINK TWICE NEXT TIME"

domenica 20 luglio 2014

Bob Dylan - 2014-06-27 - Kosice, Slovakia (AUD/FLAC)

(Audience FLAC)

Steel Arena

Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo

Bob Dylan - piano, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton on lead guitar
Donnie Herron - banjo, viola, violin, electric mandolin, pedal steel, lap steel

Disc One (47:49)
01. Things Have Changed
02. She Belongs To Me
03. Beyond Here Lies Nothin'
04. What Good Am I?
05. Waiting For You
06. Duquesne Whistle
07. Pay In Blood
08. Tangled Up In Blue
09. Love Sick

Disc Two (55:27)
10. High Water (For Charley Patton)
11. Simple Twist Of Fate
12. Early Roman Kings
13. Forgetful Heart
14. Spirit On The Water
15. Scarlet Town
16. Soon After Midnight
17. Long And Wasted Years
18. (encore break)
19. All Along The Watchtower
20. Blowin' In The Wind

Total time 1:43:16

REQUEST: Jackson Browne DVD live in Montreux Jazz Fest in 1982

Another small request:

Someone asked for Jackson Browne DVD live in Montreux Jazz Fest in 1982. It was broadcast on European TV. I'm after a good quality version (better than YouTube's). Any help please??

mercoledì 9 luglio 2014

Genesis - 1975-04-03 - Frankfurt, DE (AUD/FLAC) by REQUEST

(Audience FLAC)

Frankfurt am Main, 
PrrP GS 001 There's Always Magic In The Air (FLAC)

1-1. Intro 1:09
1-2. The Lamb Lies Down On Broadway 4:54
1-3. Fly On A Windshield 4:50
1-4. Broadway Melody Of 1974 0:35
1-5. Cuckoo Cocoon 2:29
1-6. In The Cage 7:47
1-7. The Grand Parade Of Lifeless Packaging 3:21
1-8. Story Of Rael pt. I 1:37
1-9. Back In NYC 5:58
1-10. Hairless Heart 2:29
1-11. Counting Out Time 4:01
1-12. The Carpet Crawlers 5:43
1-13. The Chamber Of 32 Doors 5:57
1-14. Story Of Rael pt. II 4:04
1-15. Lilywhite Lilith 2:58
1-16. The Waiting Room 7:38
1-17. Anyway 3:30
1-18. The Supernatural Anaesthetist 2:40
1-19. Interlude 2:14

2-1. The Lamia 7:113
2-2. Silent Sorrow In Empty Boats 3:44
2-3. The Colony Of Slippermen 8:54
2-4. Ravine 1:52
2-5. The Light Dies Down On Broadway 3:33
2-6. Riding The Scree 4:15
2-7. In The Rapids 2:29
2-8. It 4:05
2-9. The Story Of Henry And Cynthia 2:52
2-10. The Musical Box 11:13

2-11. Peter Gabriel and Phil Collins Interviewed by Andy Peebles, Piccadilly Radio, (Manchester, Lancashire April 28, 1975) 23:12

The Last Great Adventure
The writing and recording of ‘The Lamb Lies Down On Broadway’ took place over the summer months of 1974. It was a troubled time for Genesis, with Peter Gabriel briefly leaving the band to take up an offer of working with acclaimed film director William Friedkin. When this project failed to materialize, Gabriel returned to the group to complete work on the album, though the reception he received from the other members was understandably subdued.

Upon its release that autumn, Gabriel was justifiably proud of ‘The Lamb Lies Down On Broadway’. “This album has spirit,” he declared. “It’s a much wider album than past efforts. In the past, our records haven’t come off as strong as I would have liked; it’s been down to live performances. But this has the best the band has to offer. On the right wing there are conventional pop songs and on the left wing more sound pictures drawn by the music which we’d only done before in rehearsal, never on plastic.” ‘The Lamb’ remains the most controversial of all the Genesis albums and the accompanying stage show was the band’s most visually ambitious. Building on their use of slides during the ‘Selling England By The Pound’ tour, the show had now been expanded to feature three screens onto which were projected hundreds of slides, timed to coincide with and enhance the masterful music. Unlike the ‘Selling England’ tour, Gabriel would portray just one character on stage: Rael, the New York street punk, clad in blue jeans and leather jacket. But the costumes used during ‘The Lamia’ and ‘The Colony Of Slippermen’ still remain two of the most breathtaking and cherished images of Peter’s days with Genesis.

All too aware of the criticisms thrown at them, Genesis were at pains to reinforce the importance of the music over the visuals. “There are people who believe that the costumes, props and slides we use are crutches to hold up the crippled music,” explained Gabriel. “They think we had to resort to things like that. They don’t realize we actually prefer it. Visuals are rubbish unless they are integrated with the continuity of the music. You can’t put layers of make-up on a beautiful face unless the features are there in the first place.”

Tony Banks endorsed this opinion: “We’d never dismiss a piece of music if we thought it inadequate for visual presentation. Visuals come after the music. Visuals are only considered once the piece is finished.” Putting the case more strongly, Steve Hackett stated, “You hate to think of the overall concept of Genesis being visuals. I don’t want people thinking they’re going to see a glitter band.”

Recognising the possible pitfalls of employing rock ‘theatrics’, Gabriel added: “The first time people see us they think of us only as a visual act. But to us it’s all music. The visuals only succeed if the music is satisfying as well. It’s a means to an end with us. The only reason you’re there is to communicate and you’re better able to do that with movement. Still I’d like to think of myself more as a writer than a performer. That’s what I derive more satisfaction from.”
Kicking off in America in November 1974 and finally drawing to a close in Europe in May 1975, the tour saw Genesis perform ‘The Lamb Lies Down On Broadway’ in its entirety an estimated 102 times, achieving the perfect synthesis between music and visuals. But reaching this creative pinnacle came with a price. Within the band, there was a growing resentment towards Gabriel, the other members concerned that the increasing emphasis placed on visual presentation, and the attention that was being focused on the singer, was overshadowing their musical contributions. Acutely aware of the bad feelings directed towards him and uncomfortable with his position as ‘rockstar’, Gabriel announced to the others his intention to quit the band at the end of the tour.

While his decision inevitably cast a shadow over the rest of the tour, the fact remains that with ‘The Lamb Lies Down On Broadway’, Genesis scaled new artistic heights, both musically and visually. Thirty years on, the album is firmly established among fans as the band’s masterpiece and the live show, captured here in Frankfurt in stunning quality, a powerful statement from the greatest and most innovative progressive band of all time.
The Doktor

Notes from the Re-Master
This show was provided to us as a CD copy of the master tapes. Initially, the encore was missing but was provided from another source. Together, the complete show is here. The recording was sub-optimal from a number of points of view. First, there was a great deal of Hiss present which masked many of the subtle features of the show. Multiple techniques were needed to reduce the hiss without removing any of the musical signal. Excessive bass rumble and ultra-high frequency treble needed to be attenuated in certain sections to bring those components into balance. Brief bursts of high treble such as cymbal crashes were a bit piercing and were selectively attenuated using a dynamic filter. Occasional single channel dropouts were found and repaired. Audience noise was attenuated and dynamics of the whole show were adjusted to increase the dramatic effect of the music. Dialogue sections were enhanced by tonality adjustments to make Peter’s monologue more understandable.

Even though we were told that the source was a CD copy of the master tape, a few edits seemed to be present. One whole line from the song “Back In NYC” was missing and needed to be repaired. A line was also missing from “The Chamber Of 32 Doors”. This was also repaired. Another edit as suggested by the presence of a duplicate guitar sound during “The Waiting Room”. This brief segment was removed. Finally, a large segment of “The Colony of Slippermen” was missing and patched from another source.

The speed of the recording was checked against multiple sources and found to be accurate. The interview section was provided as a separate cassette source. This was the original cassette used to record the interview from the radio on 28th April 1975. The interview section had a radio transmission ring that was removed with a notch filter. Tonality was also adjusted to make the dialogue more clearly understandable and hiss noise was reduced. The dynamics of the interview were also adjusted to match the concert section.