Peter Gabriel – Shows by Date

1975.xx.xx – Before the Flood, Demos
1976-2002 – A Rare Tracks Collection
1977.xx.xx – Radio Interviews
1977.03.05 – Passaic, NJ
1977.03.06 – Rochester, NY
1977.03.13 – Detroit, MI
1977.03.15 – Cleveland, OH
1977.03.19 – New York, NY
1977.03.22 – Toronto, Canada
1977.04.03 – Houston, TX
1977.04.09 – Los Angeles, CA
1977.04.10 – Los Angeles, CA
1977.04.29 – Manchester, England
1977.09.02 – Courtrai, France
1977.09.10 – Paris, France
1977.09.19 – Brighton, England
1977.10.04 – Paris, France
1977.10.09 – Copenhage, Denmark
1977.10.11 – Stockholm, Sweden
1977.10.26 – Lille, France


1978.08.23 – Oxford, England
1978.08.25 – Lancaster, England
1978.08.31 – Oslo, Norway
1978.09.09 – Knebworthth, England
1978.09.04 – Bremen, Germany
1978.09.15 – Essen, Germany
1978.09.29 – Huntington Beach, CA
1978.09.30 – Los Angeles, CA
1978.10.04 – New York, NY
1978.10.07 – Geneseo, NY
1978.10.09 – Union, NJ
1978.10.15 – Montreal, Canada
1978.10.20 – Royal Oak, MI
1978.10.21 – Kent, OH
1978.11.04 – New York, NY
1978.11.21 – Los Angeles, CA
1978.12.16 – Basel, Switzerland
1978.12.20 – London, England
1978.12.21 – London, England
1978.12.23 – London, England
1978.12.24 – London, England
1979-2004 – Secret World
1979.06.23 – Glastonbury, England
1979.08.26 – Reading, England
1979.11.xx – London, England
1979-2004 – Secret World
1979-2010 – Scraping the Bottom

1980.02.24 – Leicester, England
1980.02.25 – Sheffield, England
1980.03.04 – Liverpool, England
1980.03.05 – Manchester, England
1980.03.07 – Cardiff, Wales
1980.05.26 – Radio Victory Interview
1980.06.17 – Santa Ana, CA
1980.06.19 – Los Angeles, CA
1980.06.xx – Los Angeles, CA
1980.06.22 – San Francisco, CA
1980.06.23 – San Francisco, CA
1980.07.05 – Quebec City, Canada
1980.07.07 – New York, NY
1980.07.08 – Boston, MA
1980.09.04 – Berlin, Germany
1980.09.09 – Paris, France
1980.09.10 – Paris, France
1980.09.12 – Paris, France
1980.09.14 – Nantes, France
1980.09.21 – Geneva, Switzerland
1980.09.30 – Torino, Italy


1983.07.03 – Werchter, The Netherlands
1983.07.09 – London, England
1983.07.27 – Worcester, NY
1983.07.29 – Forest Hills, NY
1983.08.08 – Vancouver, Canada
1983.08.17 – Los Angeles, CA
1983.09.17 – Manchester, England
1983.09.18 – Liverpool England
1983.10.01 – Copenhagen, Denmark
1983.10.02 – Hamburg, Germany
1983.10.04 – Dusseldorf, Germany
1983.10.05 – Frankfurt, Germany
1983.10.06 – Munich, Germany
1983.10.10 – Hanover, Germany
1983.10.15 – Clermont Ferrand
1983.10.19 – Avignon, France
1983.10.28 – Brest, France

1984-2002 – The Non Album
1986.11.07 – Rochester, NY
1986.11.09 – Syracuse, NY
1987.07.21 – Philadelphia, PA
1986.11.04 – Poughkeepsie
1986.11.11 – Largo, MD
1986.11.12 – New Haven, CT
1987.07.21 – Philadelphia, PA

1993.09.19 – San Francisco, CA

Peter Gabriel – Torino, Italy (09/30/80)



Peter Gabriel
Palasport, Torino, Italy
September 30, 1980

Soundboard-recording, using several sources, including a tape generously donated by LC!

Disc 1:

1 Intruder – 7.22
2 The Start – 1.41
3 I Donít Remember – 5.12
4 Solsbury Hill – 5.43
5 Family Snapshot – 7.03
6 Milgrams ë37 – 3.40
7 Not One of Us – 5.59
8 Lead a Normal Life – 4.19

Disc 2:

1 Moribund the Burgermeister – 5.21
2 Mother of Violence – 4.20
3 Humdrum – 4.22
4 Games without Frontiers – 4.34
5 Band Introductions – I Go Swimming – 1.23
6 Biko – 11.08
7 On the Air – 7.13
8 D.I.Y. – 5.05
9 Here Comes the Flood – 2.28

Total Running Time: 40.59 + 45.54 = 86.53

Soundboards are a rare thing for the tour supporting Peter Gabrielís third album, also known as
ëMeltí among fans. What is available from the mixing desk is not in stellar quality either
sadly, and the same goes for this particular recording of the Torino gig nearing the wind
down of the tour. However, using several sources, a very listenable release was possible
that gives a somewhat different perspective than being in the audience.

Not changing much throughout the China 1984 tour (which, in true Gabriel tongue-in-cheek
humour, would of course never visit China, nor would it take place in 1984), the setlist
is the usual one, missing ëAnd through the Wireí. ëModern Loveí was actually part of the
set too, but missing on the soundboard recordings of this show, as is pretty much all of
ëI Go Swimmingí, and the ending of ëMilgramís 37í.

Focusing on what has been captured, the show starts off with a long drummachine intro
for ëIntruderí, setting the tone for the rest of the show: dark, raw and gritty. Almost
any track off the third album is featured here, excepting the before mentioned ëAnd
through the Wireí and ëNo Self Controlí, which would only be included from the next tour
on. A great rendition of ëBikoí signals the end of the gig, where apparently a few members
of the crowd are able to catch Gabrielís microphone and decide to join the sing-along
chorus, before this is quickly turned off by the engineer.

After a rousing ëOn the Airí, the crowd is treated to a very pure and raw version of
ëD.I.Y.í, after which Gabriel returns to the stage for one other final song, in the form
of ëHere Comes the Floodí, singing the chorus on the absolute top of his voice.

After this, only a handful of dates in France, Spain and Portugal would be played before
the tour would come to an end.

WHAT WAS DONE?

The process of this remaster is somewhat fading away, since it’s already a few months old
and the entire process is not really clear to me anymore.

What is left in my memory though:
First of all, there is some doubt as to if this is really a soundboard, or just an
audience recording, with almost no crowd noise present. In my opinion this is a soundboard
as some of the sounds are too close and dry in the source to make it an audience recording.
Also, the best proof for me is the fact that I’ve heard of the existence of the master
soundboard tape.

For the remaster, several sources were used. Modern Love and I Go Swimming were played as
well, but not on the soundboard recordings. Most sources around are not pretty, with some
being very distorted, others very generated. The best source I could work with was LC’s
tape, which was a tad hissy, but didn’t have many distortion, making it a lot more
listenable. Also it wasn’t denoised like some other recordings. 2/3 of the remaster comes
from LC’s tape.

Most of the other songs use one of the other complete sources. Mother of Violence is from
a different source, an attrocious source sadly, and it’s quality-wise the low point of
the recording, but I wanted to include it for completeness.

The remastering process included the usual steps I take in remastering, including using
one channel (mono source), equalisation, noise reduction, multiband compression/expanding,
and some slight effects to create a sense of stereo.

THANK YOU TO:

Thanks to LC for generously donating a tape for part of this remaster!

As always, hope you enjoy this remaster!

Jesper Moonen
October 24, 2007

If you have any comments, a question, or perhaps even have an unusual Gabriel
recording (on tape, CD, or anything else), which you would like to offer to the
project, just send me an e-mail at sledgehammer86 AT hotmail DOT com

The Rolling Stones – How Britain Got the Blues (1961-1964)

THE ROLLING STONES
HOW BRITAIN GOT THE BLUES
Remastered Edition

Pitch, phase and level corrected, de-thumped and retracked at Remasters Workshop July 16 & 17, 2010 from the 2000 CD on Bad Wizard BW 6134.

This CD was pirated by an unidentified label and issued as “Beginning Of The English Blues.” It was for sale briefly on Amazon (it’s unavailable now and will probably remain so), where a reviewer left these (edited for coherence) comments:

A great compilation of obscure 1961-1964 recordings. What will pique the interest of the hardcore Stones aficionado the most are the first eight tracks: the very earliest Rolling Stones recordings, which have rarely, if ever surfaced on other CDs. The first four songs are labeled as dating from a tape of Little Boys Blue, a pre-Rolling Stones lineup of the group, recorded (probably at a private rehearsal) in late 1961. Dick Taylor (later of the Pretty Things), guitarist Bob Beckwith, and Allen Etherington (on maracas) were part of Little Boys Blue on this recording. While the track listings are vague as to what actual future members of the Stones also participated, it’s certain that Mick Jagger’s on lead vocals, and possible that Keith Richards and Brian Jones are on the guitars.

Included are unreleased versions of the Jagger-Richards compositions “It Should Be You” and “My Only Girl” (aka “That Girl Belongs To Yesterday”). There’s also “Leave Me Alone,” a Jagger-Richards original not released by anyone! There’s also the unreleased studio effort “Goodbye Girl,” a routine blues-rocker dated as having been recorded in November 1964 and written by Bill Wyman. While these are no doubt fascinating for the Stones fan, as well as historically important, the subsequent 24 BBC session tracks are better music. Those BBC performances include many songs that didn’t appear on the group’s early releases, such as covers like “Roll Over Beethoven” (a different version than a more commonly circulated one also recorded around this time for another BBC session), “Meet Me In The Bottom,” Jimmy Reed’s “Ain’t That Loving You Baby,” “High Heel Sneakers,” and Bo Diddley’s “Crackin’ Up.” The fidelity on these is generally very good, with the performances different enough from the studio versions to make them quite interesting!

Track 1 was in a sorry state in its original incarnation. It’s a mono recording, but the levels on the two tape tracks were wildly varied and would occasionally drop out in one channel or the other. These anomalies were straightened out, gaps filled by cloning and levels fixed so that it sounds as normal as possible. There was also a repeated segment of a couple of lines; I don’t know whether the original CD is that way, or it came that way on the recording I received, but I edited it out. This may be the best version of this track available now.

All the recordings but two were at the wrong speed – some a little bit and some a lot, and all were out of phase. The makers of this CD added stereo reverb to everything (can’t leave a good thing alone), but its effect is negated because after phase correction, the channels were combined to true mono. Levels were all over the place, with volume swells and dips in many places; those are fixed now, too. Occasional thumps that are often heard on tape recordings via microphone from tube radios have been eliminated.

The early studio recordings were very, very dull. They have been brightened here so you can tell what’s going on. No EQ was applied to the other tracks. All work was performed in 32-bit in Adobe Audition 3, and the tracks were split on sector boundaries in CD Wave.

Track listing:

01 Little Queenie
02 Beautiful Delilah
03 Down The Road Apiece
04 I Ain’t Got You
[late 1961 or early 1962, Dartford, home demos – Little Boys Blue]

05 Leave Me Alone
[November 20 & 21, 1963, London, Regent Sound Studios]

06 Goodbye Girl
[November 8, 1964, Chicago, Chess Studios]

07 It Should Be You (take II)
[November 20 & 21, 1963, London, Regent Sound Studios]

08 My Only Girl (aka “That Girl Belongs To Yesterday”)
[November 20, 1963, London, Regent Sound Studios]

09 Ain’t That Loving You Baby
[October 8, 1964, BBC London]

10 Don’t Lie To Me
11 Mona I Need YOu Baby
12 Walking The Dog
13 Bye Bye Johnny
14 I Wanna Be Your Man
[February 3, 1964, BBC Saturday Club]

15 Roll Over Beethoven
[March 8, 1964, BBC Saturday Club]

16 Little By Little
17 I Just Wanna Make Love To You
18 I’m Moving On
[April 10, 1964, BBC Joe Loss Pop Show]

19 Not Fade Away
20 Beautiful Delilah
21 High Heeled Sneakers
[April 13, 1964, BBC Saturday Club]

22 Down In The Bottom
23 You Can Make It If You Try
24 Route 66
25 Confessin’ The Blues
26 Down The Road Apiece
[May 25, 1964, BBC Saturday Club]

27 It’s All Over Now
28 If You Need Me
29 Carol
[July 17, 1964, BBC Joe Loss Pop Show]

30 Around And Around
31 I Can’t Be Satisfied
32 Crackin’ Up
[July 17, 1964, BBC Top Gear]

Artwork is included.

Please preserve the lossless quality of this material.

Enjoy!

Remasters Workshop
RMW 578

Andre Bird and Hands of Glory – Telluride, CO (06/21/14)

Andrew Bird and Hands Of Glory
Telluride Bluegrass Festival
Telluride, Colorado
Town Park
June 21, 2014

4 mic mix
Source 1/2: Schoeps MK2S [A-B split 54 cm] > KCY > VST62IU > Grace Lunatec V3 > Sound Devices 744t @ 24bit/48hz
Source 3/4: Schoeps MK4V (DIN) > cmc6 > Naiant LB (Jensens) > Sound Devices 744t @ 24bit/48hz
8ft in air right front corner SBD cage
INHDD > Samplitude 11 > Sound Forge 10 > CD WAVE > TLH
Tagged in foobar 2000
Taper: soling (sdolan@wi.rr.com)

Run time: 73:52

01 ?
02 Plasticities
03 Not a Robot, But A Ghost
04 Tin Foil
05 Dear Old Greenland
06 Effigy
07 Frogs Singing
08 Mx Missiles
09 Give It Away
10 When That Helicopter Comes
11 Something Biblical
12 Colorado Girl
13 Near Death Experience
14 Three White Horses
15 Pulaski At Night
16 ?

Andrew Bird – guitar, vocals, percussion
Tiff Merritt – guitar, vocals
Eric Hayward – pedal stell guitar
Ilan Hampton – bass
Kevin O’Donell – drums

10,000 Maniacs – New York, NY (10/23/90)

10,000 Maniacs
Beacon Theatre
New York City, NY
October 23, 1990
(Two Of Us Master Series Volume 222)

Recording: Shure Mic > Sony WM-D6C

Transfer: Master tapes > Nakamichi DR-01 (azimuth adjusted) > USB Sound Devices > Audacity > iZotope RX / ozone 9 (mastered) > xACT 2.50 > FLAC

01 Maddox Table
02 Eat For Two
03 Whatís The Matter Here?
04 City Of Angels
05 A Campfire Song
06 Headstrong
07 Cherry Tree
08 Dust Bowl
09 Everyone A Puzzle Lover
10 Cotton Alley
11 Heís A-1 In The Army (And Heís A-1 In My Heart)
12 Gun Shy
13 Poor De Chirico
14 The Latin One
15 Scorpio Rising
16 Daktari
17 Like The Weather
18 Hey Jack Kerouac
19 Donít Talk
20 Trouble Me
21 Poison In The Well
22 Tension
23 My Mother The War
24 Among The Americans
25 Where My Soul Never Dies
26 Planned Obsolescence
27 Where My Soul Never Dies (Reprise)

Known Faults:
-Maddox Table: joined in progress
-The Latin One: start cut
-My Mother The War: end slightly cut

Between 1983 and 2002 there were not any tapers more active than the “Two Of Us”. For the better part of two decades they taped over 250 artists with an array being taped multiple times.

If you collect Springsteen then you are already familiar with some of their work, “fmcleanboots” has posted a half dozen or so of their “Tunnel Of Love” tour shows but has decided to pass the baton.

What you don’t know is their passion was not just for Springsteen but for music and that passion runs deep. It is astonishing how many artists they taped.

They followed tours taping club shows, theater shows, arena shows, big artists, mid-level artists and local artists.

If they were following a tour and the tour had an off night they’d see who else was playing that night to tape. Always focused on enjoyment of the show as the priority,
tickets were for the most part acquired outside of the venue as they worked to obtain the best possible seats, continually trading up until the correct seats were acquired.

The results of this were the captures are uniformly excellent but on occasion the start of the show was sacrificed as a trade-off for the seats.

The heavy lifting was done by the Sony WM-D6C and an external Shure Mic before moving to DAT for the last couple of years. None of their masters have ever been circulated and
have been safely stored for the past three to four decades in a climate controlled environment. Tapes transferred so far are in pristine condition.

Though we may do some mini releases of a series of shows in order for one portion of a tour for the most part shows will not be released in order, there are just too many of them.

This will be a very exciting series and we hope along the way we upgrade existing circulating audio and offer up shows that do not have any circulating audio, enjoy the ride, this is definitely not a dark ride.

10,000 Maniacs
Beacon Theatre
New York City, NY
October 23, 1990

This is recorder 2 for Natalie and company’s 1990 stop at the Beacon Theatre and our third 10,000 Maniacs show in the series. Another wonder performance from the group, a little bit of the Beacon reverb but highly listenable throughout.

As always thanks to Goody for his continuing support of this and all our other historic releases ensuring we are running in the correct pitch.

A big thanks as always to “Two Of Us”, their dedication to capturing all these legendary performers and shows many heard hear for the first time, the HOURS and HOURS spent waiting in line, traveling, money on tickets as well as trusting me to be the caretaker of their life’s work, our little community is indebted to you both. Also, a big thank you to my friend “fmcleanboots” for putting me in touch and laying the groundwork that has resulted in all these great releases…we’ve barely scratched the surface. The amount of completely uncirculated shows they taped and continue to get into my hands for release is staggering.

And as always thanks to Goody for his continuing support of this and all our other historic releases ensuring we are running in the correct pitch.

Noirvember: So Long at the Fair (1950)

so long at the fair poster

Vicky Barton (Jean Simmons) a young Englishwoman and her brother Johnny (David Tomlinson) travel to Paris for the Exhibition. They check into a nice hotel. They speak to the owner and the porter. The porter is miffed because Johnny gives him an English shilling for a tip.

They go to Montmartre for dinner and the Moulin Rouge for entertainment. They keep bumping into another Englishman, George Hathaway (Dirk Bogarde), and his two companions. His companions are staying at the same hotel and later that night he’ll borrow money from George to pay the cabbie.

Everyone goes to bed and when Vicky wakes up the next morning she finds that George is nowhere to be found. Not only that but his room doesn’t seem to exist. His room number, 19, is a bathroom and not a bedroom at all. No one at the motel will ever admit that they ever saw him. She arrived alone they say.

This story is based on an old urban legend. Usually, it involves a mother and daughter, but they’ve changed it to siblings here. It has been adapted into various stories over the years and it was the inspiration for Alfred Hitchcock’s The Lady Vanishes.

In the Hitchcock film, an elderly lady disappears from a train, and someone she only just met has to look for her. In that film the protagonist starts to think she’s gone crazy, that she only imagined the old lady. Which works because she didn’t really know the woman in question.

It seems much more difficult to convince someone that they don’t have a brother. Luckily, the film finds some clever ways to get past that. When she goes to the British consolute he says he believes her but that she’ll have to find evidence. He suggests finding someone else who saw her with her brother.

She remembers that a woman saw them together and that she was going to be at the exhibition. But something quite unusual (which I won’t spoil) happens to her keeping her from testifying.

The police chief likewise says that he believes her and goes to the hotel to question the owner. But again without evidence, there isn’t much he can do.

Enter George Hathaway again. Naturally, he helps the poor girl sort out exactly what has happened. It all leads to a surprising conclusion that is also somehow disappointing. They find a clever way to explain why they not only had to make Johnny disappear but his room too. It also satisfies questions of why they left her alone (except for the gaslighting).

And yet while it is clever, and it does explain everything, I found it not at all satisfying.

The film doesn’t amp up the mystery angle of the story very much. We know exactly who is involved, we just don’t know why. Vicky never seems to be in any real danger either. Instead, it is a story about a woman placed in an incredibly strange situation trying to understand what has happened and why no one will believe her.

On that front, it mostly worked for me. Jean Simmons is quite good and I always love Dirk Bogarde. He’s one of those actors that every time I watch him in a film I want to find him in other things.

In the end, it was a pretty good film, but I still prefer the Hitchcock version of this legend.

Pink Floyd – Sydney, Australia (02/01/88)

Pink Floyd
Feb 1, 1988
Sydney Entertainment Centre, Sydney, Australia
Tour: A Momentary Lapse of Reason

Shine On You Crazy Diamond (Parts I-V)
Signs of Life
Learning to Fly
Yet Another Movie
Round and Around
A New Machine, Part 1
Terminal Frost
A New Machine, Part 2
Sorrow
The Dogs of War
On the Turning Away
One of These Days
Time
On the Run
Wish You Were Here
Welcome to the Machine
Us and Them
Money
Another Brick in the Wall, Part 2
Comfortably Numb
Encore:
One Slip
Run Like Hell

Pink Floyd – Los Angeles, CA (02/10/80)

Pink Floyd
Sports Arena
Exposition Park
Los Angeles, California
10th Feb 1980

Set 1
In the Flesh?
The Thin Ice
Another Brick in the Wall, Part 1
The Happiest Days of Our Lives
Another Brick in the Wall, Part 2
Mother
Goodbye Blue Sky
Empty Spaces
What Shall We Do Now?
Young Lust
One of My Turns
Don’t Leave Me Now
Another Brick in the Wall, Part 3
The Last Few Bricks
Goodbye Cruel World

Set 2
Hey You
Is There Anybody Out There?
Nobody Home
Vera
Bring the Boys Back Home
Comfortably Numb
The Show Must Go On
In the Flesh
Run Like Hell
Waiting for the Worms
Stop
The Trial
Outside the Wall

A WALLweeds production

I have no lineage for this show I am afraid.

This is what was done to the show.

Suppressed low.
Filter 41dB
Suppress white noise -40dB
Swapped channels

I hope that you enjoy the show.

Pink Floyd – Philadelphia, PA (06/29/77)

1977-06-29
Pink Floyd
The Spectrum
Philadelphia, PA
USA


Roger does not play during Us and Them (?)

Band Members
David Gilmour
Nick Mason
Roger Waters
Richard Wright

Dick Parry
Snowy White

Name: Who Refused to Play the Encore
Track List

1 Sheep
2 Pigs On The Wing (part 1)
3 Dogs
4 Pigs On The Wing (part 2)
5 Pigs (Three Different Ones)

1 Shine On You Crazy Diamond (parts I – V)
2 Welcome To The Machine
3 Have A Cigar
4 Wish You Were Here
5 Shine On You Crazy Diamond (parts VI – IX)
6 Money
7 Us And Them

http://www.pf-db.com/index.php?concert_id=614&bootleg_id=1772

There are two sources used on this roio, one main source, and a second source that is patched in during Pigs (3DO), and used from the end of Shine On (6-9) throughout the encores. This second source sounds really bad, but it’s the only roio Ive seen from this date that has both the encores. The performance is good, but the crowd is bad, setting off fireworks constantly. This isnt a show you would listen to over and over, cause of the poor sound quality, but if you want a complete show from this date, this is the roio to get. -pict

just now I notice 2 particulars about this recording:

  1. this version is speedcorrected (the Spectrum Theatre Philadelphia 29.6.77 recording runs too slow)
  2. the number … that I was not able to identify previously.
    now I hear it clearly!
    50
    on Pigs (3DO) 3rd verse at 11:56 on Spectrum Theatre Philadelphia 29.6.77 – at 11:47 on Who Refused To Play The Encore -littlesheep