1984 (Featuring Brian May) – Teddington, England (03/31/67)

1984 (featuring Brian May)
31 march 1967
Thames Television, Broom Lane Studio
Teddington UK

01. Hold on I’m coming (Isaac Hayes/ David Porter)
02. Knock on wood (Eddie Floyd/ Steve Cropper)
03. NSU (Jack Bruce)
04. How can it be (Ron Wood)
05. Step on me (take1) (Tim Staffel/ Brian May)
06. Step on me (take2) (Tim Staffel/ Brian May)
07. Purple Haze (Jimi Hendrix)
08. Our love is driftin’ (Elvis Bishop/ Paul Butterfield)
09. Remember (Jimi Hendrix)
10. Sweet wine (Ginger Baker/ Janet Godfrey)

Line up: Dave Dilloway – bass guitar
John Garnham – rhythm guitar/vocals
Brian May – lead guitar
Tim Staffel – vocals/harmonica
Richard Thompson – drums
John Sanger – piano

Taken from QUeenpedia.com:

Also from 1967, and of far more interest, is 1984’s professionally recorded Thames Television demo tape.
During his first-year of study at Twickenham Technical College, Dave Dilloway had made friends with a number of technicians, or trainee technicians, at the Teddington-based ITV Company, which served the London area.
The station had recently invested in new recording equipment, and rather than hire professional musicians at the usual union rate, in a set up similar to the first Queen sessions at the De Lane Lea studios, 1984 were let loose in the studio to record at their leisure.
Dave Dilloway’s carefully preserved tape still plays perfectly, and includes the following songs: “Hold On I’m Coming”, “Knock On Wood”, “NSU”, “How Can It Be”, two early run-throughs of the original May/Staffell composition “Step On Me” (which eventually became the B-side to Smile’s “Earth”), “Purple Haze”, “Our Love Is Drifting'”, and medleys of “Remember”/”Sweet Wine” and “Get Out My Life Woman”/”Satisfaction”.
The session ended with a run-through of “My Girl”.

“What an extraordinary amalgam!” declares Tim Staffell today.
“There’s Tamla, Cream, Hendrix, Lee DorseyÖ ‘Our Love Is Driftin’ ‘, we’d have heard by Paul Butterfield.
I’d forgotten there was such a large soul component in 1984!”

Dave Dilloway has the technical details: “This tape is the most recent, best and most representative of 1984 that I’m aware of.
It is mono, but since it was made on good quality TV studio equipment and was carried out along the lines of a proper studio recording, with separately mixed microphones for each source, it is remarkably good quality for its age.
The material, except for ‘Step On Me’, is all cover versions, but as it dates from the late 1984 era, Brian’s playing is more prominent and effective, with his own style starting to show through.
All the performances are competent – particularly Tim’s vocals and Brian’s guitar; although the mix is a little heavy on John’s rhythm guitar for some reason, probably the ‘ear’ of the recording engineer at the time.
All tracks were laid down in one take, i.e., no overdubbing at all, so the sound is predominantly simple, as per our live versions.”

Mark Knopfler – London, England (06/01/13)

Mark Knopfler
Royal Albert Hall
London, England
June 1st 2013

Recorded with a Zomm H2 Digital Recorded
Splitted, normalized and volume increase with Soundforge
Flad made with Trader Little Helper, level 8
Audience recording made from the stalls M

Special guest stars
Ruth Moody (Vocals, guitar on “I dug up a diamons”)
Nigel Hitchcock (saxophone)

CD1
01 – What it is
02 – Corned Beef City
03 – Privateering
04 – Father and son
05 – Hillfarmers blues
06 – Intro to Ruth Moody
07 – I dug up a diamond (With Ruth Moody)
08 – Seattle (with Ruth Moody)
09 – Intro to Nigel Hitchcock
10 – I Used to Could (With Nigel Hitchcock)
11 – Romeo and Juliet (With Nigel Hitchcock)
12 – Sultans of Swing

CD2

01 – Haul Away
02 – Postcards from Paraguay
03 – Marbletown
04 – Speedway
05 – Telegraph Road
06 – So Far Away
07 – Shangri la (With Nigel Hitchcock)
08 – Going Home (With Nigel Hitchcock)

Last night of the six sold out nights at the Royal Albert Hall

Ryan Adams – Bedhead Vol. 1

Ryan Adams
Bedhead
Bedhead Compilation Volume 1
1999-2001
Various Venues and Locations

Source: Soundboard/Audience
Lineage: ?x CD-r > EAC v0.95 prebeta 5 > .wav > FLAC v1.7.1 (level 8,align on sector boundaries)

Tracklist

Disc 1 (Vol 1)
October 28, 1999 – Nashville, TN
01. Statuettes With Wounds
02. Onslow County
03. Folklore

October 29, 2000 – Asheville, NC
04. Memories Of You
05. It Wasn’t…

February 16, 2000 – Austin,TX
06. Don’t Fail Me Now

September 28, 2000 – Philadelphia, PA
07. Nighttime Gals
08. Gimme Sunshine
09. Born Yesterday
10. Oh My Sweet Valentine

November 07, 2000 – Gothenberg, Sweden
11. Abigail
12. The Fools We Are As Men
13. I’m Alright Today

November 1, 2000 – Minneapolis, MN
14. Hey There Mrs.Lovely
15. Just Like A Whore

February 13, 2001 – Seattle, WA
16. Mara Lisa

February 17, 2001 – San Francisco, CA
17. Movie Star Girl
18. My California Love
19. God Bless The Week(You Go Away)

Disc 2 (Vol 2)
February 17, 2001 – San Francisco, CA
01. Pretending’s Fun
02. Caterwaul
03. What Sin
04. Memphis (aka Drunk & Fucked Up)
05. Where Is My Heart,Famous Eyes?
06. She Wants To Play Hearts

February 18, 2001 – San Francisco, CA
07. Perfect and True
08. Young Winds
09. The Shoeshine Man

April 24, 2001 – Malmo, Sweden
10. Dear Anne
11. My Love For You Is Real
12. Everything’s Alright

July 14, 2001 Nashville, TN (with The Pinkhearts)
13. Charmed
14. Tell Me How You Want Me

November 14, 2001 – San Francisco, CA (with The LAX)
15. Don’t Ask For The Water
16. Desire
17. I Don’t Wanna Work

Disc 3 (Vol 3)
January 5, 2000 – New York, NY
01.The Poison And The Pain
02. The String And The Wire

April 28, 2001 – Bergen, Norway
03. Silver Bullets
04. Dreams Of A Working Class Clown
05. 100 Krona I Just Won(Improv)

September 28, 2001 – Atlanta, GA (with The Sweetheart Revolution)
06. Friendly Fire
07. Mega Superior Gold
08. Gimme A Sign
09. Tennessee Sucks

October 5, 2001 – Boston, MA (with The Sweetheart Revolution)
10. Candy Doll
11.The Shakin’ Blues

October 31, 2001 – Oslo, Norway (with The Sweetheart Revolution)
12. You Will Always Be The Same
13. Poor Jimmy
14. Fool For You
15. Friends (aka For Beth)
16. Prison Letter

October 22, 2001 – Glasgow, Scotland (with The Sweetheart Revolution)
17. C’mon Little Girl

February 6, 2002 – Amsterdam, Netherlands (with The Sweetheart Revolution)
18. Vampire

Bedhead was initially distributed via the whiskeytownavenues yahoo list and was put together by Mike DuBose in May 2002.

Tracklist song titles updated to accord those as listed on http://www.answeringbell.com
Cover Art Tracklist is incorrect.

Peter Gabriel – Before the Flood – Demos 1975

Peter Gabriel
Before the Flood
Demos 1975
goody PitchFix version

Original FLACs >
goody – dBpowerAMP (Convert to WAV) > Cool Edit Pro (Pitch Correction +47 cents) > TLH (FLAC, sigs)

01 Howling At The Moon 3:05
02 Excuse Me 3:42
03 Funny Man 4:27
04 No More Mickey (aka Richard MacPhail) 2:45
05 Get the Guns (listen carefully for the root of “Down the Dolce Vita”) 2:55
06 Here Comes the Flood 3:39
07 God Knows 4:59

These are evidently very early demos recorded for “car” (1976, Atco – Atco being Atlantic, a Warner subsidiary label). They are extremely raw; they may have been done in Gabriel’s home studio. Most are acoustic piano with a few accompanying support tracks and Peter singing.

The songs come from a white tape box marked: 7 1/2ips 1/4 trk stereo Gabriel/Hall Fuse Music

The lead sheets had the composer’s names given as “Peter Gabriel and Tony Hall” and were marked with a stamp from Fuse Music, England; they were merely lead melody transcriptions for copyright purposes, not hand-written by Gabriel or anything.

At that time, the best research i could come up with was that Fuse was somehow connected to Warner Bros (maybe like Sire was, but English; a sub-distribution deal?)… I later heard that the Fuse Music building burned down and took a whole lot of master tapes with it, and that this reel is quite probably the only surviving record of these demos.

This brown-oxide tape was discovered rotting in a water-soaked box shoved into a cleaning closet, along with the lead sheets, in a cavernous and seldom-used warehouse. It was lost/forgotten/abandoned. The tape had some warbley spots from the neglect and also quite a lot of tape hiss and lost tone.

I processed the material for several weeks before I was satisfied as to the quality, although “Get the Guns” was problemmatic to begin with; the Master appears to have been recorded badly or with misaligned heads. On the whole there is a tiny bit of tape hiss but no more than you’d expect from such a “live” environment. There is unfortunately one small glitch from a later cassette-to-cd transfer in “Excuse Me” (“Looking for Lost Angeleeeeee”) so don’t think it’s your file or player 🙂

Enjoy this very raw and simple glimpse into the creative process of Peter Gabriel.

(man-on-the-spot), June 2006

Pitch was approx. 47 cents flat. Corrected by goody. 5/7/07

Pink Floyd – Stony Brook, NY (04/11/70)

Pink Floyd
11. Apr. 1970
State University of New York, Stony Brook
Long Island, New York, USA

Tracks:

1. Astronomy Domine
2. Careful with that Axe, Eugene
3. Cymbaline
4. Atom Heart Mother
5. Set the Controls for the Heart of the Sun
6. A Saucerful of Secrets

Source 1:
Genuine New York 1970
Label: Monkey Records
Catalogue number: 002
‘A Saucerful Of Secrets’ as recorded at this concert is incomplete, with a convincing edit into the version commercially avaliable on the ‘Ummagumma’ LP.

Source 2:
Trademark Moo
Highland – HL630
(P) 2003 Made in Italy

Notes:

Sounds much better than the other versions available from this recording and is much
longer, including more tune-ups and announcements too (not only the intro to
Astronomy Domine actually, but more!)

Again, the recording itself would not deserve more than a VG/VG+ and the taper and the
lady talk really a lot (all it is clearly audible here, from this would be possible to pull out
an accurate transcription maybe, if you’ll be ever interested in knowing what they were
talking about) but this is a real low gen.

Sourced version, once you get this you’ll trash the rest!

A Saucerful of Secrets is obviously cut.

Bruce Springsteen – Toronto, Canada (02/13/77)

Bruce Springsteen and the E Street Band
featuring the Miami Horns
Maple Leaf Gardens Concert Bowl
Toronto, ON
February 13, 1977
JEMS Master
Nothing to Lose: The 1977 Tour Revisited Vol. Six
24/96 Edition

Recording Gear: Teac M-100 microphone > Sony TC-153SD cassette recorder

JEMS 2015 Transfer: master cassettes > Nakamichi 670 azimuth-adjusted playback > Wavelab 24/96 > iZotope RX4 > iZotope Ozone 5 > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (volume smoothing / edit / index) > xACT 2.21 > FLAC

01 Night
02 Rendezvous
03 Spirit in the Night
04 It’s My Life
05 Thunder Road
06 Mona > She’s the One
07 Tenth Avenue Freeze-out (w/ Miami Horns)
08 Something In The Night
09 Growin’ Up
10 Action in the Streets (w/ Miami Horns)
11 Backstreets
12 Jungleland
13 Rosalita (w/ Miami Horns)
14 Raise Your Hand (w/ Miami Horns)
15 Born to Run

Known Faults:
None

Welcome to the sixth edition of JEMS’ Nothing to Lose series revisiting Bruce’s remarkable 1977 tour. For the full history of our obsession with this era and the back story on these “Official Audience Tapes,” please refer to the notes in Vol. One found here:

http://jungleland.dnsalias.com/torrents-details.php?id=38539

Installment No. 6 rewinds to the first week of the tour and a 15-song set at Toronto’s Maple Leaf Gardens, the legendary hockey arena, set up in its Concert Bowl configuration which cut the arena to half its normal size. It is the first of three JEMS master recordings done on the ’77 tour, and, dare I say, we think you’re going to like this one quite a bit.

Toronto ’77 has circulated among collectors since not long after J taped it that frosty February. A master-to-DAT transfer was done in the early days of the format, copies of which almost certainly provided the source for releases like Soul Crusaders (E Street) and No Trouble In Receiver (EV2). It’s long been one of the better audience recordings of the tour, but it has never sounded as good as it could. This marks the first direct digital transfer of the master, and every step along the chain, from the azimuth-adjusted playback to high-resolution capture to final mastering, is superior to what was done to DAT 25 (how can it be?) years ago. Additionally, it lacks some of the minor edits found in the extant versions.

It’s also one of those shows that I personally played dozens and dozens of times throughout the years; the recording which definitively made be believe the following: “Night” is one of Bruce’s greatest show openers; “It’s My Life” had reached its zenith; “Something in the Night” is an under-appreciated classic; “Growin’ Up” can support more than one tall tale; “Action in the Streets” should have been resurrected when the horns came back in 1988 and 2012; the “You lied!!!” moment in “Backstreets” may never be rivaled; “Raise Your Hand” should have been played every night of the tour; and, finally, that J was (and remains) a highly skilled taper.

Hereís what J himself had to say about the show: ìBack in 1977, a taper had to rely on a network of friends and collectors across the country to get early warning of shows and ticket sales. In the case of Toronto, we had a great friend up north in fellow taper The Lewk. He took care of us on our many road trips into Ontario, and he exceeded expectations with this Bruce show, getting me and my friends great seats at Maple Leaf Gardens, curtained off lengthwise to form the ‘Concert Bowl.í The curtain improved the notoriously bad sound there, and The Lewk got me a seat just off the center aisle, ten rows back from the stage. This was the first of three Bruce shows I saw and recorded on this tour, using my Sony TC-153SD and Teac M-100 mic, which I mounted high in a headband. We expected new material on this tour as we presumed that Bruce was probably a month or so away from putting out a new album. After all, it had been a year and half since Born To Run was released. The Toronto show was unique, in that the fire marshall insisted there be an intermission, making it the first time Bruce had split the set, a feature that would later become a staple of the show structure. We got great versions of ‘Rendezvous’, ‘Something In The Night’ and ‘Action In The Streets,’ but the real highlight this night (and at all 1977 shows) was the incredible version of ëBackstreets.í It was never better than it was in 1977!î

Like this entire series, the Toronto performance is a pleasure to listen to and the sound quality (to my ears) approaches the best tapes of the tour, including those of our pal Steve Hopkins and whoever did the official audience tapes. It offers an airy high end, punchy low end and vivid clarity to pick out each member of the band making magic. Samples provided.

I know a lot of you have this recording already and, make no mistake, Toronto has always sounded good, but I think this version is definitive. Then again, I’m biased. We’re making it available in both standard and high-resolution 24/96 editions.

Massive credit goes to J for his outstanding original recording and for pulling out the masters one last time to capture them at 24/96 and giving me so much to work with. Thanks yet again to M, for providing his ’77 source tapes; to the folks on the Stone Pony message board whose thread sparked this series; and to mjk5510 who continues to provide invaluable assistance as JEMS’ packaging and distribution supervisor.

Our next stop in the ’77 series is two nights hence in Detroit and one of the greatest show openers of all time.

BK for JEMS

Eric Clapton – New York, NY (07/13/74)

Eric Clapton
1974-07-13
New York, NY
“Bright Lights in Blues City” (Big Music BIG 033) *SBD*
Big Music – Big 033 – SB 5

Track List:
1) Smile
2) Let it Grow
3) Can’t Find My Way Home
4) Wille and the hand Jive
5) Let it Rain
6) Key to the Highway
7) Blues Power / Have You Ever Loved a Woman
8) Layla / Presence of the Lord
9) Steady Rollin Man / Crossroads

Geetarz Comments:

The date on the CD jacket is incorrectly listed as July 14, 1974.

Remember the old days? I think this was one of the first CD boots I ever bought. Back then you’d have to wait for the post to bring
“Goldmine” magazine, which at that point was a roughly telephone sized tabloid (well, I exaggerate) and if you spent hours poring
over the ads you’d come across cryptic titles, send your postal money order to Germany, or Luxembourg, or Italy ($25/single,
$50/double, plus postage) and wait, and if you were lucky, a couple of months later you’d get a package in the mail and voila! You’d
have some idea of what you had just purchased.

Back then the idea of just having tons of cool stuff available at your fingertips on a torrent site was the thing of science fiction.
Not to mention having so much information and feedback easily available.

So here it is, a fun show. I certainly enjoyed playing it today, and I hope you do, too!

Silver > Plextor PX-712a > EAC v. 0.99 Prebeta 4 (Secure) > FLAC > You !

Artwork, info file, checksums (FFP, MD5, and ST5), and EAC Logs included.

A scan of the original silver disc is also included. Even if you have this title in your collection, you may appreciate this version,
with known lineage.

Please note, a “whole-torrent” MD5 is also included, which will verify that all the contents remain unchanged.

Reseeds are welcome, and encouraged – share the tunes!

Torrenting Supervision and Moral Support by Cody the Codependent Husky.

Bruce Springsteen – Trenton, NJ (11/29/74)

Bruce Springsteen and the E Street Band
War Memorial Theater
Trenton, NJ
November 29, 1974
The Big A master via JEMS

Audience Recording (equipment unknown) by The Big A

JEMS 2013 transfer: master cassette > Nakamichi CR-7A azimuth-adjusted playback > Sound Devices USBPre2 > Audacity 2.0 (24/96) capture > Peak 6.0 with iZotope Ozone 5.0 > resample 16/44.1 via iZotope MBIT+ > Peak Pro XT (pitch correction / patch / subtle tweak) > xACT 2.21 > FLAC

101 INCIDENT ON 57TH STREET
102 SPIRIT IN THE NIGHT
103 DOES THIS BUS STOP AT 82ND ST ?
104 I WANT YOU
105 GROWIN’ UP
106 SAINT IN THE CITY
107 E ST SHUFFLE
201 JUNGLELAND
202 KITTY’S BACK
203 NEW YORK CITY SERENADE
204 ROSALITA
205 SANDY (Kivak Source)
206 A LOVE SO FINE (Kivak Source)
207 WEAR MY RING AROUND YOUR NECK (Kivak Source)
208 QUARTER TO THREE (Kivak Source)
BONUS TRACK
209 KITTY’S BACK (Kivak Source patched with Big A source – 39 seconds)

Known Issues:
Rosalita: 6 seconds patched at end
Last 4 songs from Kivak Source

mbrown02’s recent repost of Trenton ’74 reminded us that we were sitting on an alternate recording of the show. In fact, based on the data on Brucebase and to the best of our knowledge (though CB and JK might know better), Trenton may well be the first Springsteen show ever to be recorded by two different tapers, therefore making it the first two-source Bruce gig ever.

The Big A recorded Bruce several times in 1974-75, most notably the wonderful Philadelphia 11/1/74 recording and the earliest known capture of Max and Roy in the band from Kean College, 9/22/74. While he did not have high-end equipment, he got a very solid result here, arguably as good as Kivak’s previously circulated recording. Samples provided.

Not surprisingly, however, neither tape is complete, as the Big A missed the end of the show. We’ve added the missing songs from Kivak’s master to the Big A recording, as well as patching Kivak’s “Kitty’s Back” (which is cut on Kivak’s master), using the Big A source, for a bonus track. The result is two baseline recordings of the show, each made complete by patches from the other.

Needless to say this is a fantastic show from an other worldly era in Springsteen’s career. It includes an early cover of Dylan’s “I Want You,” a jaw-dropping “New York City Serenade” and the embryonic “Jungleland” with Suki Lahav on cello to name but a few highlights.

Thanks to The Big A for lending JEMS his masters. It isn’t easy to find new sources circa 1974-75 and he has provided several. Also big ups to mjk5510 for assembling this and doing the final release prep.

BK for JEMS

Bruce Springsteen – Buffalo, NY (12/04/80)

Bruce Springsteen and the E Street Band
Memorial Auditorium
Buffalo, NY
December 4, 1980

mackeck master via JEMS

Recording Gear: handheld portable cassette recorder with built-in mic

2013 Transfer: Maxell UD-90 master cassettes > Nakamichi CR-7A (azimuth-adjusted) > Sound Devices USBPre2 (24/96 Audacity 2.0 capture) > iZotope RX 3 click removal and gap fixes > iZotope MBIT+ convert to 16/44.1 .wav > Peak Pro XT (patch / indexing) > xACT > FLAC

Tracked with no breaks, suggested breaks for burning to CD below…

101 Born To Run
102 Out In The Street
103 Tenth Avenue Freeze Out
104 Two Hearts
105 The Price You Pay
106 Factory
107 Independence Day
108 I Fought The Law
109 Prove It All Night
110 Racing In The Streets
111 The River
112 Badlands
201 Thunder Road
202 Cadillac Ranch
203 Sherry Darling
204 Hungry Heart
205 Fire
206 Candy’s Room
207 Because The Night
208 I Wanna Marry You
209 For You
210 The Ties That Bind
210 Wreck On The Highway
212 Stolen Car
213 Ramrod
301 You Can Look
302 Drive All Night
303 Rosalita (Come Out Tonight)
304 Santa Claus Is Coming To Town
305 Jungleland
306 I’m A Rocker
307 Detroit Medley
308 Raise Your Hand

Known Faults:
-Prove It All Night: 5 seconds patched with Recorder 2 (kshavo source)

Just a few days removed from the 33rd anniversary of Bruce’s River stop in Buffalo, JEMS is pleased to present an uncirculated third source recording of the show from the master tapes.

d.j.mackeck reached out earlier this year to report that his dad had recorded several Bruce shows between 1978 and 1984 in their hometown of Toronto, as well as cities within spitting distance like Detroit and Buffalo. He was kind enough to ship an initial batch of three masters, from which we made fresh transfers here at JEMS South.

The shows were recorded on a small portable recorder with built in-mic (likely a Toshiba or Sony, but memories have faded) in mono. D.J. shared how this particular night went down:

“My dad couldn’t make it to the Buffalo show, as he was going to be in the Bahamas during that time. So he gave his ticket and the task of recording the show to my uncle. My uncle was 18 at that time, and this was his first time seeing Springsteen. So he, another uncle, my aunt and my mother drove down from Toronto to the Memorial Auditorium.

When they were going in, security stopped my uncle because of the recorder. But he managed to sneak the recorder into his boot and got in through another gate. The rest is history! My dad kept the tapes along with other recordings he made. I came across the tapes, listened to them and sent them to JEMS. In my opinion, my uncle did a really good job of recording the show as far as getting all of the songs recorded and flipping the tapes over at the appropriate times. This is the first of my dad’s tapes to be transferred to digital form. He may have dubbed a copy for my uncle, but other than that, none of my dad’s tapes have ever been shared or traded.”

Uncle Mackeck did do a really solid job. There’s a remarkable lack of audience chatter or noise on the tape, and though the gear wasn’t state of the art, the recording is clear, relatively close and the best of the now three known Buffalo recordings. Uncle Mackeck only cut one song, on his first flip during “Prove It All Night,” which has been patched with Recorder 2 (Kshavo source).

The only material flaw in the new Buffalo recording was micro gaps. In 20-25 random spots across the three hours, the recorder cuts out momentarily leaving an audible gap. Having cut my teeth on a “basic handheld recorder” myself, I learned the hard way that they can be unreliable and if jostled or perhaps held in the wrong position, drop outs can occur.

On the Buffalo recording, the micro gaps were all well under a second in length, though absolutely noticeable. But happily for us, it isn’t 1980 but 2013 and audio technology has come a long way. Using iZotope RX and its magical “Spectral Repair” plug in, JEMS was able to repair the gaps in a manner that should make them audibly invisible to all but the most committed and headphone-wearing trainspotter. The software uses an extrapolation algorithm to pull information from both sides of the gap and fill in like spackle. It worked like a charm.

To take this one the last mile and provide the patching is our comrade and the unchallenged king of multiple source recordings, MJK5510. Thanks to him for final finishing and prepping.

And a big thanks to d.j. mackeck and his dad for loaning JEMS their masters, and to Uncle for recording the show so well in the first place.

There are more mackeck masters to come.

BK for JEMS

Bob Dylan – Santa Cruz, CA (03/15/00)

Bob Dylan
3/15/00
Santa Cruz Civic Auditorium
Santa Cruz, CA

Oh Babe it aint No lie
Mr. Tambourine Man
Masters of War (check for static 3:5x)
Don’t Think Twice
Tangled Up in Blue
Pass Me Not Oh Gentle Savior
Hoochie Coochie Man
Positively 4th Street
Drifter’s Escape
Things Have Changed
Not Dark Yet
Highway 61 Revisited
Love Sick
Silvio
It Ain’t Me Babe
Not Fade Away

One source includes Asleep at the Wheel Set

Asleep at the Wheel set

Cherokee Maiden
Route 66
Roly Poly
Red River Valley
Big Balls in Cowtown
Cherokee Boogie
Aint Going Down that Lonesome Road
Hot Rod Lincoln
House of Blue Lights
Cotton Eyed Joe