NEIL YOUNG & CRAZY HORSE
Forever Sunset
Fillmore East, New York
March 6, 1970
CD 1:
EARLY SHOW
CD 2:
Pink Floyd
1970-10-23
Civic Auditorium, Santa Monica, California, USA
Set List:
Disc 1:
Total Time: 52:39
Disc 2:
*Peter Phillips:
Orchestra conductor for Atom Heart Mother
Band:
David Gilmour
Rick Wright
Nick Mason
Roger Waters
Grateful Dead, with New Riders of the Purple Sage
September 17, 1970
Fillmore East,
New York, NY
This is flac encoded & tagged version of shnid: 27591
gd70-09-17.aud.sirmick.27591.sbeok.flac16
source: see shnid:16090
{*Acoustic set, NRPS set, and Sugar Magnolia are MAC>R>C>CD.
Recorded by Jack Toner, with a Sony TC-110 with built-in microphone.
*Dark Star from MAC>?>C>R>CD. Unknown taper/equipment
*Saint Stephen>Good Lovin’ from MAC>?>C>R>R>CD. Unknown taper/equipment
NOTE: This supercedes the previous copy which was labeled MAC>R>C>D>CD.
That copy is a mislabel, and in reality has one more cassette generation
than this one (the main source for that version derives from the tapes
used for this one). Additionally, this source includes the NRPS set,
and does not have the cuts in Dark Star.]
-Acoustic Set–
101-d1t01 – Tuning
102-d1t02 – Truckin’
103-d1t03 – Monkey & the Engineer
104-d1t04 – Dark Hollow
105-d1t05 – Friend of the Devil
106-d1t06 – Ripple
107-d1t07 – Tuning
108-d1t08 – Brokedown Palace
109-d1t09 – Box of Rain
110-d1t10 – Rosalie McFall
111-d1t11 – Cold Jordan ->
112-d1t12 – Swing Low Sweet Chariot//
–NRPS Set–
201-d1t13 – Six Days on the Road
202-d1t14 – I Don?t Know You
203-d1t15 – Superman
204-d1t16 – Henry
205-d1t17 – Portland Woman
206-d1t18 – Cecilia*
–Electric Set–
301-d2t01 – Sugar Magnolia*
302-d2t02 – Dark Star ->
303-d2t03 – Saint Stephen ->
304-d2t04 – Drums ->
305-d2t05 – Good Lovin’ ->
306-d2t06 – Drums ->
307-d2t07 – Good Lovin’
*The last portion of the NRPS set & the first part of the Dead’s electric
set are missing. This portion of the show has never found its way into
general circulation.
notes:
this is a remaster of shnid 16090:
hiss and nouse reduction has been applied throughout
a considerable number of small droputs, pops and clicks have been fixed
numerous volume adjustments have been made
I found that from St Stephen through to the end there were a number of
sections where the channels appear to have been switched, these have
now been corrected.
d2t01 20 seconds starting from 2:50, 44 seconds from 4:33
d2t05 first 9 seconds
d2t06 from 2:07 to the end
d2t07 first 3:43, 1:33 from 5:21
the tape wobble at 4:26 on d2t01 has been partially repaired by patching
in 2,61 seconds from the following repeated sequence
final mastering with iZotope Ozone
SIRMick
January 2nd, 2005
Derek & The Dominos
1970-12-05
Port Chester, New York
Capitol Theatre
Late Show (M1-AUD UPGRADE)
Remastered without EQ from 1st generation original taper safety reel
Total Time ::: 1:23:23
Fine stereo AUD – Clearest & most glitch-free version ever! – but it ain’t hi-fi. Check samples for pleasure prognoses or crash & burn factors, or to put your keys in the ignition.
Warts: Occasional mike motion. Some dullspots missed but reduced or fixed most. Some glitches unrepairable. Some volume/high end fluctuation thruout.
NEEDS BASS – Turn it up!
Toe Fat was the opening act.
COMPARISON CLAUSE: This is a known 1st gen, remastered without EQ, & UPGRADES previously DIMED versions: “The Beat Goes On”, “Feast Away”, QuinnEZkaMo ’06. “Feast Away” had bass EQ’d in, which is nice, but this source is definitely better quality with more high end (keyboards for example!) & many problems were repaired.
Thanks to DIMER Goody, the pitch master, for his prompt & careful assistance with correction in that direction.
The show is perhaps best summed up by the voice near the taper’s microphone as “Crossroads” begins, “HEAVY!”.
Recording Information ::: Sony(?) stereo cassette recorder with unknown microphones -> master cassette, no noise reduction -> 1st generation original taper safety reel (azimuth adjusted transfer from master circa 1971). Master cassette doesn’t exist anymore as it was re-used after reel transfer. Playback circa 2008 ::: 1st generation original taper safety reel on unknown reel machine -> DVD-R WAV @ 48 kHz -> wavs.
Mastering 2013-06-xx ::: 48 kHZ WAVs in Audacity (normalisation to remove DC offset, channel/phase alignment, fades, manual one-at-a-time glitch / dropout / bump / pop / click / dullspot repairs, volume adjustments, NO equalisation) -> WAV -> sent to DIMER Goody. Goody’s lineage: Switch (WAV) -> Audition (Pitch Bender -113 cents & more phase adjustment) -> WAV back to kneesfudd for final tweaking in Audacity & saved as 44.1 kHz WAV -> CD Wave (track splits) -> Trader’s Little Helper -> yer ears. A huge audio improvement after remastering. First uploaded week of 2013-06-29.
Further mastering notes: Some dull spots & glitches weren’t fixable as there was virtually no cross channel patching possible. Between trax 7&8 the taper made some noise which was been repaired & reduced, but is audible. Some clapping in track 8. Some volume wavering, particularly in track 7 – partially repaired. “Crossroads” musta suffered from tape gobble about 4 minutes in, so there are some occasional noises for about 9 seconds (I fixed what I could. It’s on all circulating copies & greatly improved here, but it’s especially noticeable on headphones). This version has more high end & is a much more pleasurable listen than the 3 circulating copies I compared it to, especially after more than a 1000 dullspot & other repairs (no kidding), it just needs a bit of bass added to the mix. I completely finished this one & then did it a second time all the way through – well worthwhile.
Line-up ::: Eric Clapton – electric guitar, vocals // Bobby Whitlock – piano, Hammond organ, vocals // Carl Radle – electric bass // Jim Gordon – drums, percussion.
Nothing here ever commercially released to my knowledge. If I’m wrong, please advise & I’ll take the offending trax offline.
CoolSonics 249 with Goody assist ::: MANY thanks to the original taper & trader, the Florida Kid. ::: Corrections welcome ::: I’ve been quite pleased at the reception to my forays into the Dominos camp, so here’s a freaking fantastic performance to further the listening pleasure of those, like myself, who find this material is like green grass to a cow’s cud. Clapton delivers in absolutely stunning style. Whitlock is on fire during this show – his keyboards & vocals are extra-terrestial, soulful & sublime – definitely was tapped into the source on this evening. Man, the jamming in the last few minutes of “Why Does Love Got To Be So Sad” is so reminiscent of the Allmans. Ferocious vocals & jamming in “Tell The Truth”. A first class performance from one of the greatest rock tours the planet has yet to experience. Hopefully this raises the sound quality bar enough so it can be regurgitated & chewed repeatedly. I am seriously pleased with the results after days of work. Don’t forget to turn up the bass because I ain’t doin’ your equalisin’ for ya. It’s really great one. Enjoy!
Kudos to Zongo for life support, Lochner for mikes&more & Fast Freddie for runnin’ Video Dick’s Record Emporium with the bathroom office full of tape decks. Thanks to Hanwaker (few among us can keep his pace). Mountains of gratitude to Davmar, D.White, Sanchez, Elliot, The Florida Kid, Kloiber, Zingg, JTW, Bershaw, Boston Gold, Dixon, Moore, Gough & SO many more for all that collecting & sharing… Royal thanks to The Man In The Palace, Doc Tinker, Brinkhoffs, Barely Eatin’, Reel Master Gaule, Parrish & all the traders who housed me thru my music acquisition & travel years. Hats off to Brother Kent, Uncle Jake, Little Queenie (& her neighbor Frank) & his honor Ptomaine Thomas. Glasses raised to Byron for musical horizon expansion & much obliged to J & Thurston for keepin’ my concert fires burnin’ since my continental shift. Thanks to the Mods for keepin’ DIME alive. Enjoy, share, give, spread peace. Yers truly, Knees
Support the artists! http://www.ericclapton.com — http://www.bobbywhitlockandcococarmel.com
Do whatever you want with it except sell it, ’cause that ain’t cool!
LED ZEPPELIN
1970-09-04
LA Forum
Los Angeles, CA
– NEW AUDx4 MATRIX (16bit)
“As far as I know there can be no Led Zeppelin tapes available. After hearing some time ago that there was going to be an attempt to bootleg some tapes of the band, I flew to America. We’ve managed to retrieve all the tapes and we know nothing in existence that can be issued.” — Peter Grant [Melody Maker, October 3, 1970: “Led Zeppelin Hammer Bootlegs”]
Led Zeppelin – “Ultimate Blueberry Hill: Live at the LA Forum 9/4/70”
Recorded Friday evening, September 4, 1970 at the Forum, Inglewood, California
STEREO MATRIX of 4 audience recordings synchronized & mixed together in varying levels:
Source #1 = Neutral Zone bootleg CDs [the Blimp Records / TMOQ recording].
Source #2 = Rubber Dubber Records bootleg LP.
Source #3 = tape source [of Mud Dogs bootleg].
Source #5 = tape source [of Tarantura (2000) bootleg].
The lesser fidelity tape sources #4 [a/k/a Tarantura (1997)] and #6 (the most recently surfaced one) have been used to patch the introduction which is almost wholly missing from the other circulating tapes. See the Note further below for more information and identification (to the best of our ability and recollection).
SONGS: [2:14:10]
Jimmy Page – guitars
John Paul Jones – bass, organ, mandolin
John Bonham – drums
Robert Plant – vocals & harmonica
A NOTE ON THE AUDIENCE TAPE SOURCES
Source #1 = the classic TMOQ / Blimp Records bootleg recording (by “Dub” Taylor, Sennheiser 805 shotgun mic > Uher 4000 reel-to-reel?) via the Neutral Zone CDs [NZCD-89019/20, songs re-ordered, from vinyl cutting master?].
Small sections flown in from an Empress Valley bootleg CD box [EVSD-385/6] which is somewhat more complete, even after its composite-patches from other sources have been eliminated. Nevertheless, over 5 minutes of “Moby Dick” (and 16 seconds afterwards) and nearly 2 minutes following “Communication Breakdown” are still missing. The recording also has a small splice in “Dazed and Confused”, plus 13 and 10 second cuts after it and “WISASNB”, respectively.
Source #2 = the original Rubber Dubber Records bootleg recording (by Scott Johnson) via vinyl LP transfer [dadgad]; incomplete and in the wrong order on the LP, missing mainly the first three songs and the two encores, “Moby Dick”, nearly 6 minutes of the “Whole Lotta Love” medley (all marked with * above) and 2 minutes of the intro to “Bron-Yr-Aur”. The original tapes have never surfaced and were reportedly lost when the bootlegger was busted, but the available recording is of rather excellent quality for its time and has been used to good effect to augment the sound of the tracks for which it exists.
Source #3 = taken from a transfer of a 2nd gen. reel [Doinker; EVSD calls this recording “TMOQ Alternate Source”]. Retains fragments of the concert introduction but is missing some 1:45 of the intro & tuning before “Bron-Yr-Aur”, most of the “Organ Solo” (just after “SIBLY” ends; 2 seconds is also cut in the applause afterwards), about 12Ω minutes of “Moby Dick”, and about 45 seconds after both “Whole Lotta Love” and “Communication Breakdown”. In addition, 3 seconds is cut in “Dazed” along with 5 and 12 seconds during the introductions to “That’s the Way” and “WIAWSNB”, respectively. Used in somewhat lesser degree than sources #1 & #5, which are arguably superior sounding.
Source #4 = used for the concert intro only, taken from Wendy bootleg CD box (discs 7-8) [WECD-285/6; EVSD calls this “Antrabata Source”]. This recording contains the complete introduction but has poorer sound than the other sources, except the last.
Source #5 = taken from a DAT transfer of a 2nd gen. cassette [javit/dadgad; EVSD calls this “Cobra Source”]. A relatively unscathed recording as it circulates, with just the bulk of “Bron-Yr-Aur” and 45 seconds prior to “Whole Lotta Love” (including the first bars) missing, presumably at tape changes; also has a small cut in “Dazed” and omits 2 seconds after “Whole Lotta Love”. Has more tape available after the show ends (along with the EVSD version of #1). Blends well with source #1 so that together they reduce the shortcomings of each other.
Source #6 = taken from a transfer of the master cassette (ext. mic in taper’s t-shirt to Craig Portable Cassette Recorder). The last source to surface, made available by the original taper. Like #4, captures the complete concert intro but the sound quality is a notch below even that tape.
All six recordings were necessary in making this matrix. Surprisingly, it turned out to be feasible to utilize in some fasion all the four major sources, as far as they are available; as mentioned, the two lesser fidelity sources have been used just for the introduction. (Note that the numbering of sources #4 & #5 is sometimes reversed compared to the preceding.)
The exact details are too complex to be written out but the workflow was to first manually yet accurately synchronize — and where necessary, patch and re-arrange — the recordings in digital realm with high quality varispeed resampling, resulting in a sort of quasi-multitrack/mic recording. Some audio restoration work was then done on each and the general mix for level and stereo balance was arrived at after trial, error, and experimentation, accounting for any gaps in the tapes. Further work was then required to fine-tune the transition points (at tape breaks), the relative levels and EQ until the end result seemed to be reasonably close to what can be achieved, without too obviously audible artifacts resulting from the mixing together a bunch of half a century old analogue recordings, which cannot be completely brought into exact phase and sync.
ACKNOWLEDGMENTS: Thanks are obviously due to all the tapers, whether anonymous or not, and to the good people who have contributed into preserving and making available their work as well as analysing it. You know who you are.
Artwork included. A Nite Owl production (NO-2019-10).
Pink Floyd
Concertgebouw
Amsterdam, Holland
November 6, 1970
Disc 1:
Disc 2:
Pink Floyd
Fillmore East, New York, NY, USA
1970.09.27
Source/Lineage: audience / cass[low]>cdr(?)>flac > wav > Adobe Audition 1.5 (minor editing) > Cdwav (track splitting) > TLH > FLAC
Total Length: 47:47
Crosby, Stills, Nash & Young
at Fillmore East
New York, NY, USA
06/04/70
I have no source info for this.
Suite: Judy Blue Eyes
On the Way Home
Teach Your Children
Tell Me Why
Triad
Guinnevere
Simple Man
Man in the Mirror
Cinnamon Girl
Down by the River
Only Love Can Break Your Heart
Black Queen
49 Bye-Byes
America’s Children
Love the One You’re With
Pre-Road Downs
Long Time Gone
Helplessly Hoping
Ohio
As I Come of Age
Southern Man
Carry On
Find the Cost of Freedom
Neil Young & Crazy Horse
Filmore East, New York
3-7-70
Good-Very Good Mono Audience Tape
10 Ωî Reel of Scotch tape, 1/2 track, @7 Ω ips (Technics 1506) to Tascam Prof CD Recorder
EAC > Wav > Flac
Acoustic
Electric w/ Crazy Horse
Neil Young & Crazy Horse
Tea Party, Boston Mass.
3-1-70 Good-Very Good Mono Audience Tape
10 Ωî Reel of Scotch tape, 1/2 track, @7 Ω ips (Technics 1506) to Tascam Prof CD Recorder
Here is another tape with a story. In the early 1970ís WBCN-FM (Boston) started a show they called ëRare Tape Nightí. Maybe 2 or 3 times a year for a few hours they would play back recordings they had in their archives. Early on, ‘folks / friends of the station’ would drop off rare recordings they acquired (bootleg lps, tapes ect). These would be played back, sometimes until late into the night. As the Radio station grew, the time slot got smaller and smaller until the show was abandoned (probably due to record company pressure). Early recordings of WBCN shows have them playing Woodstock ëouttakesí, the Byrds at the Tea Party, Buffalo Springfieldís Long Version of ëBluebirdí, and FM broadcasts that the station originated. Around 1978, I made friends with some folks at WBCN. I was invited up several times as they were interested in what I had for recordings (Bruce Springsteen was big at this point). At one point an intern handed me this 10 Ω in. reel and asked if I was interested in it. He said he needed an empty reel from me in return or he was going to take a razor blade to it. They had already listened to it and decided it was something they would never play. So I gave him my take-up reel and took the box home. It was marked Neil Young Live Fillmore East 3/7/70 and Tea Party 3/1/70. I have no idea if this show is out or where the rest is. This is all I have. I was told there were a couple of guys taping Tea Party shows on a portable ëUHRí reel to reel, but I was never able to find out who they wereÖÖÖ.
Issues: There are random clicks and pops on this tape. It was in very poor condition and not properly wound when I received it. There are also a few splices. It is one of those tapes you hate to playback, and you watch the entire time. But I played it through without any issues. The taper claps between songs with the mike in his hand so ëbe preparedí. The Fillmore acoustic set sounds good but the electric is a bit muddy. The Tea Party acoustic & electric sounds very good and a little bit brighter.
Note: I align the payback head on my machines to match the source recording. This gives you the best playback without having phase issues. If you should hear any phase issues, they are inherent to the source tape I am playing back. I also biased all my reels prior to recording on them. I feel this has given me some great sounding tapes as you will hear in the futureÖÖÖÖÖÖÖPeace
I never used noise reduction and all my tapes are at 7 Ω ips. Nothing has been edited out or EQíd.
The Who
Copenhagen, Denmark
Falkoner Centret
20th September 1970
The Who played in Copenhagen twice in 1970; first in January, then in September. This is the recording of the latter show.
The download I got it from had no info file, so sorry, no lineage. Most likely it was liberated from the bootleg cd the cover of which was attached.
Curiously enough, the track listing on the booklet features the original division into discs. The back inlay features a more sensible way of dividing, without splitting Tommy in halves.
I put the tracks into an even different order, which makes more sense to me. There was a long, very quiet passage before the Overture, you could not even hear Pete speak, audience clap or anything, you just guessed something might be happening somewhere in the distance, so I decided to delete 90 seconds of this useless silence. Therefore you will get just 7 seconds of it before Tommy begins, and that is more than enough. Then I xpanded the volume of the first chord that was very silent to match rest. Sparks were split into two tracks, which I merged back together. Fades were applied after the dividing passages (the intro songs, Sparks, after Tommy). I tried to diminish the gaps as much as possible to make the recording more fluent. There are a few cuts (in 1921, most prominently), nothing could be done about those.
The quality of the recording is not stellar either, B- or even C to my ears. During Heaven And Hell the taper was fidling with the recording volume so the sound fades down and almost disappears a few times. So this is definitely not the recording to match the best standards of that year, still a worthy addition to complete the collection. Enjoy!
Disc 1
0
Disc 2