martedì 31 gennaio 2017
6 CD Set - Part 3
Source: Vinyl Gang Products (VGP-324) - Released 2002
Quality: Excellent Audience Recording.
CDR received in a trade -> Flac via TLH -> You
[All files checked lossless via EAC - ffp & md5 files included - Artwork included (thanks to rs-covers.com)]
01. Jumping Jack Flash
02. Live With Me
04. Hand Of Fate
05. No Expectations
06. Beast Of Burden [REMOVED]
07. Stray Cat Blues
09. Everybody Needs Somebody To Love [REMOVED]
10. That´s How Strong My Love Is
11. Going To A Go Go
12. Band Introduction
01. Thru And Thru
02. You Don´t Have To Mean It [REMOVED]
03. Can´t You Hear Me Knocking [REMOVED]
04. Rock Me Baby [REMOVED]
05. Bitch [REMOVED]
06. Honky Tonk Women
07. Start Me Up
08. Brown Sugar
09. Tumbling Dice
The following tracks are removed from this torrent as officialy released on "Live Licks" (CD) & "Four Licks" (DVD):
- Disc 1: Tracks 6 (Beast Of Burden) & 9 (Everybody Needs Somebody To Love)
- Disc 2: Tracks 2 (You Don´t Have To Mean It), 3 (Can´t You Hear Me Knocking), 4 (Rock Me Baby) & 5 (Bitch)
lunedì 30 gennaio 2017
01. I Wanna Be Adored
02. Heart On The Staves
03. Tell Me
04. This Is The One
05. Boy On The Pedestal
06. All Across The Sands
07. Hardest Thing In The World
08. Sun Still Shines
09. She Bangs The Drums
11. Hardest Thing In The World
12. Elephant Stone
13. Sun Still Shines
14. Going Down
15. Sugar Spun Sister
17. Shoot You Down
18. She Bangs The Drums
20. Made Of Stone
21. This Is The One
22. Elizabeth My Dear
23. (On A Beach In) Normandy
24. When The Wind Blows
1-3: Piccadilly Radio sessions 24/03/85
4: Strawberry Studios, Stockport, 1985, 3am (first ever take)
5-8: Rehersals, Chorlton, Manchester, 18/03/86
9-10: circa '86
11: Demo, Yacht Club studios, Bredbury, Manchester 1986
12-15: Chorlton, Manchester, 12/12/86
16-17: Demos, Manchester Late '87
18-21: Suite-16 Studios, Manchester May '88
22: Battery Studios, London Jan '89
23-24: Demos 1983. Pre-Roses band called The Waterfront who included Squire, Mani & Ian. Kaiser is singing as Ian didn't turn up.
giovedì 26 gennaio 2017
1st gen tape? transferred to CDR > xACT > Flac
Dave Brock - guitar, vocals
Robert Calvert - lead vocals
Simon King - drums
Simon House - keyboards, violin
Adrian Shaw - bass, vocals
01 electronic intro
02 reefer madness
03 hassan i sahba
04 the forge of vulcan
06 wind of change
08 spirit of the age
09 sonic attack
10 damnation alley
11 fable of a failed race
12 uncle sam’s on mars
13 iron dream
14 waiting for my man
One of the better sounding Hawkwind audience recordings. Been quite a while since this was here (I last seeded it back in 2008) so perhaps time for another spin.
Bruce Springsteen and the E Street Band
That Old ‘80 Sound
Seattle Center Coliseum
October 24, 1980
RS Master via JEMS
(24/96 Edition release pending)
Recording Gear: Nakamichi 700 microphones > Bass Box EQ > Sony TCD-D5
2013-14 JEMS Transfer: RS master cassettes > Nakamichi CR-7A azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > extensive iZotope RX3 clean up > iZotope Ozone 5 via Peak 6 > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (volume smoothing / edit / index) > xACT 2.21 > FLAC
Project Start Date: October 2013
Project End Date: October 2014
Approximate Project Hours: 35
Years Spent Chasing Down Master Tape: 20+
River Tour Show No. 13
Seamless transfer, suggested CD breaks...
102 Out in the Street
103 Tenth Avenue Freeze-out
104 Darkness On The Edge Of Town
106 Independence Day
107 Jackson Cage
108 Two Hearts
109 The Promised Land (cut)
110 Racing In The Street
111 The River
112 Prove It All Night
113 Thunder Road
201 Cadillac Ranch (Bruce's microphone and part of the PA are out)
203 Sherry Darling
204 Here She Comes > I Wanna Marry You
205 The Ties That Bind
206 Wreck On The Highway
207 Point Blank
208 Crush On You
210 You Can Look But You Better Not Touch
211 Stolen Car
212 Drive All Night
303 Born to Run
304 Detroit Medley > I Hear A Train (joined in progress, distortion at the start)
305 Raise Your Hand (joined in progress)
We never thought it would happen, but after twenty years of trying, JEMS was finally able to track down the master tapes to my first Springsteen show, Seattle Center Coliseum, October 24, 1980. Right at the top a HUGE thank you goes out to RS, the original taper of the show, who generously provided his masters to JEMS, as well to MS, who facilitated access to RS and his tapes. MS has graciously lent JEMS many of his outstanding master recordings by various artists over the last two years, available on DIME under the title MS Archive Series.
Seattle '80 is a personal holy grail for several reasons. As noted above, it was my first Springsteen show at the tender age of 14. That night also saw distribution of the first ever issue of Backstreets, so happy 34th anniversary to Backstreets as well. The magazine had a big influence on me as a collector and it was in the classifieds of Backstreets that JEMS first appeared in public, so to speak, as we took out ads back in the day before the internet hoping to trade copies of "our masters for your masters."
The funny thing is, we never had a master of Seattle '80. JEMS taped the three Seattle Springsteen shows that preceded this one (in 1975 and 1978) and every Seattle show that followed, up to present day. Yet despite three of us attending, we didn't record the show.
The answer is, because a friend of a friend with better gear was going to record it for all of us. RS was friends with MS and with Pat Lee, taper of the excellent Portland '80 made with Stan of JEMS the following night. RS was an experienced taper and Deadhead (he recorded hundreds of shows in and around Seattle, Boston and Southern California) who not only had arguably the best commercially available gear at the time (Nakamichi 700 microphones and a Sony D5M cassette recorder), but he and MS had recently begun to customize and upgrade their taping gear.
Around this time, RS and others in the Dead taping community started experimenting with what they called a Bass Box EQ. Utilizing special circuitry, the Bass Box EQ was designed to capture much more of the low end than the Nak 700s could grab on their own. Given the gear he was packing, leading up to the show it was decided by the folks who could have taped--Pat Lee, Stan and MS--that RS was the right man to make the recording for all interested parties.
And shortly after the show, RS did indeed make copies from his masters for the aforementioned crew, and the Seattle show has circulated pretty much ever since. The trouble is, every copy of the show I ever tracked down was hissy and very bass heavy, which explains why Seattle '80 has never been considered a quality recording.
Even when Pat Lee loaned me his first generation reels of the show, dubbed from RS's masters, the show still didn't sound as good as I thought it should have. Again, heavy hiss and bass made the recording challenging to navigate, though you could hear a fine recording lurking under the fog. It seemed the only way to properly upgrade Seattle ‘80 was to get back to the original master recordings.
A couple of years ago, Pat and I exchanged emails about trying to track down RS's masters, and he suggested that MS might still be in touch with RS (remember, this is 30+ years after the concert). Turned out he was. Sometime in 2012, MS made contact with RS, who confirmed that he still had the tapes and was open to lending them, but they were in a different state than the one he he lives in today.
I waited close to a year for RS to return to that part of the country, and, to his credit, when he did he pulled out the tapes and sent them to MS who in turn sent them to me. After 20 plus years of seeking and over a year of tracking, the Seattle '80 masters were finally in JEMS’ hands.
With great anticipation I placed tape one in the Nakamichi CR-7A to hear what the original Seattle ‘80 sounded like. RS marked the tapes as recorded WITH Dolby on, and it immediately struck me that perhaps that first transfer had been made with Dolby off, thereby boosting the hiss on the copies. Azimuth adjustment also seemed to help fine tune the high end. While the quiet songs were recorded a bit low and therefore had some hiss, the fresh Dolby-on transfer seemed to reduce a material issue with the recording.
But in the immortal words of Meghan Trainor, Seattle '80 is all about that bass. Man, does this tape have it, like no Springsteen audience tape I have ever heard before. Springsteen's full-time move to sports arenas that year likely required a whole new approach to sound reinforcement, and one could easily argue that the prominence of Garry Tallent's bass in the mix was no accident: Why not have a big, solid foundation, and let the rest of the band flow over that? Great for in-arena, but problematic for the recording! In spots, it the bass on this recording is overwhelming.
And it's likely that copies made 34 years ago were unsatisfactory for this reason as well: In dubbing, the recording levels would have been set so the big bass swells did not distort, leaving quiet songs at lower levels than they should be. Turn the volume up to hear something like "Wreck on the Highway" and you were turning up the hiss.
Happily, 2014 offers amazing tools to mold audio like this in ways that would have been difficult in the analog realm. RS's masters were captured at 24/96 and working with iZotope Ozone, after considerable trial and error, I was able to shape and rein-in that bass, while still leaving Seattle '80 with low-end oomph most audience tapes never offer.
RS was surrounded by a boisterous audience, but using iZotope RX, many of those hoots, hollers, wolf whistles and the like were tamed. He was positioned in the upper deck, very close to the PA, so much so that when he moves off axis from the PA on occasion, the soundstage shifts dramatically, something you might notice more in the second set. Audience chatter remains in some places and there is more clapping along than one might like. On the whole, however, neither of these proves particularly detrimental.
You will also hear several seconds of distortion at the start of the show before the levels get set properly and it takes two or three songs for both the in-house mix and the microphone position to lock in. The second set also starts bizarrely, as Bruce’s lead vocal mic goes out for the entirety of “Cadillac Ranch,” and some part of the PA is down for a portion of the song as well.
With all those caveats noted, the mastered Seattle '80 is a special recording indeed. Is it the best all-around audience recording from the River tour? We leave that to you to decide. However, I can guarantee you will hear things on this recording you have never heard before. There is almost HD clarity and instrument separation for long stretches on these tapes, allowing the listener to tune in and fixate on individual elements like the synthesizer on "Drive All Night”; the chiming 12-string guitar on "I Wanna Marry You”; and the sound not just of Max's snare drum, but quite distinctly of his stick hitting it. Pick a song and a band member, and you should be able to follow their discrete part closely. For fans of Roy Bittan, this tape is a special treat: his playing is especially well-represented in the mix.
My own personal memory of the show is pretty fuzzy and I don't recall the PA being exceptionally clear (though I did remember the PA and mic failure in “Cadillac Ranch”), but from where RS was sitting, the sound quality of the PA is outstanding. The result is a major You-Are-There kind of recording. Samples provided.
And if you are a fan of The River, boy are you in luck. The second set especially offers a River tour de force, with all the heavy hitters brilliantly represented in a ten-in-a-row onslaught: "Wreck on the Highway," "Point Blank," "Stolen Car" and "Drive All Night." The rockers are potent, too: "The Ties That Bind," "You Can Look," "Ramrod," even "Crush on You."
The first set adds sublime readings of "Independence Day" and "Racing in the Street"; the extra-solo, River-tour version of "Tenth Avenue Freeze-out"; a propulsive "Jackson Cage"; a gut-wrenching "The River" (dedicated to the Lost Highway Band, with whom Springsteen had sat in the night before at the Old Timers Cafe in Seattle's Pioneer Square) and an unusually positioned "Prove It All Night."
All told, 16 of The River's 20 tracks feature here, omitting only "I'm a Rocker, "Fade Away," "The Price You Pay" and, curiously in hindsight, "Hungry Heart." In short, a classic River show from early in the tour when the material is still being road-tested and the set taking shape, making it all the more fascinating and fresh.
I want to personally thank RS for letting JEMS release his tapes. Seattle ‘80 was a passion project from the start and despite many hours spent mastering, the results, I hope, speak for themselves. Thanks again to MS for playing intermediary, vouching for me and continuing to be a major friend of the firm. Pat Lee also deserves a shout out for helping me figure out how to reach RS.
JEMS’ own Stan was there too, and while he didn't tape, he took a number of terrific black-and-white photos, three of which grace the custom-made cover art. We also threw in two contact sheets with shots from the show courtesy of JEMS’s buddy Exit Club. And even a photo of the mysterious Bass Box that gave this recording its title: That Old ‘80 Sound.
Stan’s images provided great fodder for Ivan, who got the jump on designing the cover art, appropriately adorned in the colors of the Seattle Supersonics, the NBA team that occupied the Coliseum (now Key Arena) at the time. They were my other passion. Thanks to you too, Ivan, and to slipkid68 who helped fine tune my indulgent notes. Last but not least, mjk5510 who once again comes in to push this over the finish line as I limp into the last mile out of gas.
One more note on Stan: It was in line for tickets to this show on a Sunday morning in 1980 that I was first introduced to him. Stan had a major health setback of late so please aim all good wishes his way.
On the 34th anniversary of the show, finally, please enjoy Seattle, October 24, 1980.
Wayne Darlington for JEMS
lunedì 23 gennaio 2017
Jones Beach Ampitheatre
SBD/AUD Matrix by OctopusRider (Bob Dylan set only)
SBD: "Something Is Happening On Mr. Jones' Beach" (Rattlesnake) LB-5099
AUD: Sony D3 Walkman > Sony CDRs > FLAC (A Doinker Tape) LB-5100
Disc One 44:12
1 Babe, It Ain't No Lie 03:49
2 Mr. Tambourine Man 07:53
3 Desolation Row 08:55
4 Girl From The North Country 05:40
5 Tangled Up In Blue 08:53
6 All Along The Watchtower 03:44
7 Shelter From The Storm 05:16
Disc Two 41:45
1 Maggie's Farm 06:06
2 Not Dark Yet 06:23
3 introductions 00:51
4 Highway 61 Revisited 06:32
5 Like A Rolling Stone 07:51
6 It Ain't Me Babe 10:06
7 Not Fade Away 05:32
The soundboard was captured via FM reception on a "hard of hearing" device. It was released as "Something Is Happening On Mr. Jones' Beach" (Rattlesnake RS029/030/031). The sound is very clear but there is lots of weird sounding quick fades especially when the vocals are strong. This sounds like it is from heavy FM compression. The mix is very dry and there is no venue ambience present.
The Doinker audience recording was captured stage center, about 30 rows back. It was recorded on a Sony D3 Walkman and was ported to two Sony cdr's before being converted to FLAC(6) using Nero.
Babe It Ain't No Lie is missing from the SBD source. The first 50 seconds of Highway 61 Revisited are missing from the AUD source. There are too many cuts and dropouts in both sources to list them all. Everything now fades in and out real smooth.
The combination of these two sources makes for a very nice listen. I have always found the SBD to be unlistenable given all its strange audible blemishes. However, the Doinker tape brings out the clarity of the SBD recording. When the heavy compression reduces the db of the SBD the AUD is always right there to make up for the SBD drop. The AUD is very warm and adds so much dimension to the Matrix it is almost silly to try to write about it.
Matrix: both sources > WAV > Cakewalk Home Studio 2004 > WAV > FLAC(8)
Traders Little Helper was used to decode original lossless FLAC files to WAV and to convert back to FLAC. Cakewalk was used to align, speed-correct, join, separate and fade all tracks. No EQ was used on this matrix. Shelter From The Storm and Maggie's Farm can be joined together seamlessly for longer media.
SBD/AUD Matrix and Artwork by OctopusRider February 2009.
Special thanks to Doinker for supplying both sources.
martedì 10 gennaio 2017
Eric Clapton - Clapton Is Mad Dog Two
Jersey City, NJ
July 7, 1974
Congress Centrum, Hamburg
November 26, 1974
Akashic AKA 27-1 & 2
Soundboard>?>silver>cdr>EAC>Flac frontend 6
My rating (scale 1-6) SB 5+ / 6
Eric Clapton guitar, vocals
George Terry guitar
Carl Radle bass
Dick Sims keyboards
Jamie Oldaker drums
Yvonne Elliman backing vocals
* Freddie King guitar, vocals
** Marcy Levy backing vocals
2. Let It Grow
3. Let It Rain
4. Band Introductions
5. Key To The Highway
6. Willie And The Hand Jive
7. Get Ready
8. Presence Of The Lord
1. Tell The Truth
2. Have You Ever Loved A Woman*
3. Little Queenie
Bonus Tracks 204-207
Centrum, Hamburg, Germany
November 26, 1974
4. Willie And The Hand Jive**
5. Get Ready**
6. Singin' The Blues**
A great show, and the bonus tracks are also wonderful. Listening to Freddie King on HYELAW...exceptional. IMHO, the Mad Dog trilogy is an all time best collection to have.
sabato 7 gennaio 2017
Waldbuehne, Berlin (Germany) June 14, 2016
recorded by wb
Soundman OKM II Rock Studio > Soundman A3 > Sony PCM-M10 (96/24) > Adobe Audition CS6 (EQ, 44.1/16) > CD Wave Editor 1.98 > Trader's Little Helper 1.3.2
01 - A Hard Day's Night
02 - Save Us
03 - Can't Buy Me Love
04 - Letting Go
05 - Temporary Secretary
06 - Let Me Roll It
07 - Jimi Hendrix Tribute
08 - I've Got a Feeling
09 - My Valentine
10 - Nineteen Hundred and Eighty-Five
11 - Here, There and Everywhere
12 - Maybe I'm Amazed
13 - We Can Work It Out
14 - In Spite of All the Danger
15 - You Won't See Me
16 - Love Me Do
17 - And I Love Her
18 - Blackbird
19 - Here Today
20 - Queenie Eye
21 - New
22 - The Fool on the Hill
23 - Lady Madonna
24 - FourFiveSeconds
25 - Eleanor Rigby
26 - Being for the Benefit of Mr. Kite!
27 - Something
28 - Ob-La-Di, Ob-La-Da
29 - Band on the Run
30 - Back in the U.S.S.R.
31 - Let It Be
32 - Live and Let Die
33 - Hey Jude
34 - Yesterday
35 - Hi, Hi, Hi
36 - Birthday
37 - Golden Slumbers
38 - Carry That Weight
39 - The End
Lineage: Audience > Cassette? > Trader's Cd > EAC > Flac
Added fingerprints, artwork and info.
EAC logs included.
01 - I Can't Explain
02 - Substitute
03 - Squeeze Box
04 - Baba O'Riley
05 - Behind Blue Eyes
06 - However Much I Booze
07 - Dreaming From The Waist
01 - Amazing Journey
02 - Sparks
03 - The Acid Queen
04 - Pinball Wizard
05 - I'm Free
06 - Tommy's Holiday Camp
07 - We're Not Gonna Take It
08 - Summertime Blues
09 - Bargain
10 - My Generation / Join Together / My Generation Blues / Hi Heel Sneakers
11 - Won't Get Fooled Again
Total Length: 90:32 Mins
Oklahoma State Fair
Tascam DR-05 > Audacity > WAV > Trader's Little Helper > FLAC
01 - People of the South Wind
02 - Point of Know Return
03 - Play the Game Tonight
04 - The Wall
05 - Reason to Be
06 - Dust in the Wind
07 - Opus Insert
08 - Closet Chronicles
09 - Hold On
10 - What's On My Mind
11 - Belexes / Lightning's Hand
12 - Portrait
13 - Sparks of the Tempest
14 - -encore-
15 - Fight Fire With Fire / Under the Knife
16 - Carry On Wayward Son
This show is historic as it was the first show after Steve Walsh's retirement. Replacing him are two new members: David Manion on keyboards and Ronnie Platt on lead vocals/keyboards. Billy Greer refers to the lineup (perhaps in jest) as Kansas 2.0.
venerdì 6 gennaio 2017
Billy Joel - 2016-05-27 - New York City, NY (AUD/FLAC)
Jackson Browne - 2016-05-13 - Thousand Oaks, CA (AUD/FLAC)
Pink Floyd - 1994-06-26 - Vancouver, BC (AUD/FLAC)
Paul McCartney - 2016-05-30 - Paris, FR (AUD/FLAC)
Radiohead - 2016-05-23 - Paris, FR (AUD/FLAC)
Radiohead - 2016-05-24 - Paris, FR (AUD/FLAC)
Radiohead - 2016-06-01 - Lyon, FR (AUD/FLAC)
The Fabulous Thunderbirds - 1987-10-07 - San Francisco, CA (FM/FLAC)
Yes - 2016-05-09 - Oxford, UK (AUD/FLAC)
domenica 1 gennaio 2017
House of Blues in-house mixing desk > Sony standalone DAT recorder (part of the HOB house system) > digital transfer to PC via egosys2496
04 Loose (The Stooges cover)
05 The Fish-Hook Girl
06 Seven Seas
07 Bring On The Dancing Horses
08 Back Of Love
09 What Are You Going To Do With Your Life?
10 Fools Like Us
11 The Killing Moon
12 I Want To Be There (When You Come)
14 The Cutter
15 Lips Like Sugar
16 Nothing Lasts Forever
17 Do It Clean > Elvis impersonation > Roadhouse Blues (Doors cover)
18 Villiers Terrace
19 Over The Wall
20 Summer Wind (Frank Sinatra cover - a cappella)
21 Ocean Rain
NOTES by the uploader:
This is my personal DATmaster from the show. Weeks before this show I contacted the band's manager by email to ask permission to tape from the soundboard and to my surprise he replied that it would be OK. He gave me his contact info and told me to ask for him at the door. I flew into Vegas for this show with my stealth mics in case it didn't work out but I actually found him at the venue and he set me up with the sound guy who instead of letting me plug into the mixing desk outputs actually just popped my blank DAT tape into the house system which was already configured to record. Needless to say, I was stunned. He also provided me with a backstage pass to meet and greet after the show with the band...best taping experience ever. I have given this out a few times over the years but now hopefully enough time as passed to give it the distribution it deserves. Excellent soundboard and balanced recording...this sounds as good as an official release. No post-processing has been done on this recording.