Peter Gabriel – Manchester, England (04/29/77)

Peter Gabriel
Apollo Theatre
Manchester England
29 April 1977

“MUPPET09”

Matrix of two audience recordings; rated ‘B+’ at http://www.genesis-movement.org/php/showdetails.php?uid=2508 (Artwork available)
I received this show from the MUPPET trading group years ago. I believe it was in shn, which I converted to wave and burned to cd.
Lineage: CDr > EAC > Wave > TLH > FLAC (level 8)

cd 1
01 Here Comes The Flood
02 On The Air
03 Moribund The Burgermeister
04 Waiting For The Big One
05 A Little Song For Little People
06 Excuse Me
07 Ain’t That Peculiar
08 Solsbury Hill
09 Band Introductions
10 Humdrum

cd 2
01 Slowburn
02 All Day And All Of The Night
03 Here Comes The Flood
04 Modern Love
05 Down The Dolce Vita
06 Back In N.Y.C.

Peter Gabriel – Piano, Flute, Tambourine, Vocals
Dusty Roads (Robert Fripp) – Guitars
Steve Hunter – Guitars
Tony Levin – Bass, Stick, Tuba, Backing Vocals
Larry Fast – Synthesisers
Alan Schwartzberg – Drums, Backing Vocals
Phil Aaberg – Keyboards, Backing Vocals
Jim Maelen – Percussion, Backing Vocals

Included in inreason’s 2009 upload on Dime (Jesper’s original notes?):

original notes:
“For MUPPET06 I did the September 27, 1977 show at the Manchester Apollo. After
the MUPPET06 release kotti passed me on some information, and made me aware that
David Lowe had a tape of the April 29, 1977 gig, which also happened to be at
the Manchester Apollo, and was in fact the very first rock gig at that venue! 🙂

Soon I discovered there was a second version of this recording circulating, from
a 1st gen. tape, transferred by Nigel Butterworth.

After examination I found that the two versions both were from different tapers,
both with a very different sound. The DL source was very distant, but did have
the very low and high frequencies (great bass drum, and those cymbals were
present as well). The NB source was quite compressed with lots of the mid-range,
giving a more raw sound. Both were far from perfect, but the disadvantages of
each could be covered up by each other. Thus came the idea to try a matrix. More
about that in the WHAT WAS DONE? section.

Back to the show:

MUPPET06 came from the second leg of the tour, this show comes from the first
leg. There’s some differences. Mostly in the order of the songs, but there’s
some other changes. Peter covered Marvin Gaye’s I Heard it through the Grapevine
during the second leg, but here he does another song by Gaye: Ain’t That
Peculiar. Also, where the second leg had a more polished version of Indigo, here
we get an early version of the song under the working title A Little Song for
Little People. Also, instead of the encore of The Lamb Lies Down on Broadway,
this time it’s Back in NYC.

WHAT WAS DONE?

This release is a so-called matrix, which uses two sources simultaneously. One
source had lots of lows and higs, the other mostly mid-range frequencies. They
covered each other perfectly, giving the recording a very rich full-spectrum
sound, and giving me the chance to have a little more control over the sound
than usual: kind of like working with a very simple multi-track 🙂

It also caused me a lot of head-ache and trouble though 😉
Speed correction was obviously the first step, since the two sources had to be
perfectly synchronized. This wasn’t as easy as I thought at first: there seemed
to be some miniscule speed-fluctations which would result in the two sources
going out of sync each minute or so. What I had to do therefore was
synchronizing the two sources every minute. Some of the loud songs were
painfully difficult to do: All Day and All of the Night and Back in NYC turned
out so bad that I decided to use one source only for those.
You’ll find that at a few places the two sources seem to go out of sync: I
regret this, but since the majority turned out very nice I hope it can be
excepted 🙂

The DL source was mono. Since it was very hissy, I killed some of the ultra-high
frequencies that didn’t contain music, but did contain hiss. After that some
further noise reduction was done, albeit slightly and manually altered. One
channel was copied to the other to get two identical channels. After that
equalization was done to get an optimal balanced sound.

The NB source was mono as well. I found the right channel to be the best so
copied that to the left channel, to get two identical channels again.
Equalization was done here as well.

The matrix was ‘mixed’ in the multi-track feature of Cool Edit. 80% of the show
was a mix of the two sources. I balanced the volumes of the two, also did some
very slight panning to left and right to create a little stereo. When there was
two sources at the same time I also used some additional equalization for each
of the sources to accentuate their strengths. Very slight reverb was used as
well, with one of the two getting a little more than the other to create some
artificial stereo-space again.
The two sources each had some little bits missing, where I would use the other
to cover it up. The NB source was missing the first few notes of the Here Comes
the Flood piano intro, the beginning of Humdrum, and some audience noise
inbetween the encore. The DL source was missing the end of Humdrum, the middle
of Slowburn, and also some audience noise inbetween the encore.
As said before, All Day and All of the Night and Back in NYC only use one
source: this was the DL source.

After the 32-bit mixdown of these two sources, multi-band compression was done,
to create some more dynamics, to flatten some of the excessive bass, and fiddle
a bit with the stereo image.

Some final equalization was done and the stereo image was expanded a little
again.

Some slight reverb was added as the finishing touch. Hard limiting was used to
flat some of the extremely high peaks, the recording was then normalized for
optimum dynamic capability on the final CD. Fade-ins and fade-outs were applied,
and the recording was converted back to 16-bit with the use of dithering.
Finally, this was cut in tracks.

A FINAL NOTE OF IMPORTANCE

On some systems this recording sounds as was intended by me, with a great rich
sound, and on some dynamic parts like the intro to On the Air, the loud-quiet
contrast in Waiting for the Big One the raw power should really kick in, when
all instruments join in.
However, you may find that the bass is way too loud on your system. I found this
myself on one system.
What you can do is turn off the ‘loudness’ button if that was on, and probably
the sound is very good then. Else, just lower the bass with the help of your
equalizer.”

enjoy!
Lamb79

Peter Gabriel – New York, NY (03/19/77)

Peter Gabriel
The Lostbrook Tape Series Volume 109
March 19, 1977
Palladium
New York, NY

Recording Equipment: Internal Mic>Sanyo M2533 Tape Deck>TDK SD C90>Alesis TapeLinkUSB>Audacity>WAV

Taper: Lostbrook
Mastering: CQ
Artwork: ethiessen1

01 Here Comes The Flood
02 On The Air
03 Moribund The Burgermeister
04 Waiting For The Big One
05 Indigo
06 Excuse Me
07 Solsbury Hill
08 Ain’t That Peculiar
09 Why Don’t We
10 Humdrum
11 Slowburn
12 All Day And All Of The Night
13 Here Comes The Flood
14 Modern Love
15 Down The Dolce Vita
16 Back IN NYC

Peter Gabriel – Piano, Flute, Tambourine, Vocals
Dusty Rhodes (aka Robert Fripp) – Guitars, Effects
Steve Hunter- Guitars
Tony Levin – Bass, Stick, Tuba, Backing Vocals
Larry Fast – Synthesizers
Alan Schwartzberg – Drums, Percussion, Backing Vocals
Phil Aaberg – Keyboards, Backing Vocals
John Maelen – Percussion, Backing Vocals

This tape was recorded from the aisle seat in fifth row center,
in a location affected by a condition I call “sat-too-close-to-
the-stage-at-the-palladium-itis.” Not only was the sound behind
me, but there was a lot of commotion in the aisle, most of it
caused by one of my friends. Howie had a seat elsewhere in the
building, and as a photographer, he naturally wanted to improve
his position by joining me at my seat. The ushers initially
accommodated him, but soon began to clear the aisle aggressively.
They probably knew that Peter Gabriel was going to enter the
audience early in the show. We were completely shocked when Peter
came down our aisle, and you’ll hear us say hello as we shook his
hand. What’s truly shocking is how many times Howie showed up at
my seat and the numerous threats from the ushers that he ignored.
Considering the fact that he shared my seat at times, I can’t believe
that I was able to keep the recorder hidden. It’s stunning that he
didn’t end up on the street. At one point, he was physically removed,
but amazingly, he showed up again during the encore! You might think
I would have copies of the photos after all of this, but you would be
wrong. I don’t recall ever seeing them. Nevertheless, this is a great
performance by Peter Gabriel in his historic return to NYC, but if
you’re looking for a clean, quiet capture, this isn’t it.

One of my friends had information about an Atlantic Records party for
the band, so after the show, we drove to a restaurant (Chinese?) on
49th Street (Lexington Ave?) and stood on the corner. Two of my friends
volunteered to be scouts and attempted to sneak into the restaurant.
Somehow, this involved taking off their shoes and crawling on the floor,
but they were caught and soon returned to us on the corner. Before
long, the band began to arrive in separate limousines. Steve Hunter
was first, and he was extremely friendly as he signed autographs for
us while imitating W.C. Fields. I asked if he would like the honor
of bringing us in as his guests, but he said, “I can’t do that I’m
afraid because I’m in as a guest.” The next vehicle to arrive contained
Robert Fripp, and we were completely intimidated as he crossed the street.
We weren’t really expecting him to say anything, so it was no surprise
when he walked by us. All we could manage was an awkward, “Great to have
you back Robert.” Larry Fast was in the next limo, and he spent several
minutes with us signing autographs. I asked him if he was working on
anything with Nektar, and he said he would be “bouncing in and out of
the studio between tour dates.” The final limo arrived, and Peter Gabriel
and his manager, Tony Smith, stepped out. Peter spent over five minutes
with us signing autographs while we pleaded with him to take us to the party.
Peter gently turned us down and told us that the guest list was “incredibly tight”
and that he “had a lot of people (he) wanted to ask but couldn’t.” We discussed
a range of other subjects, and you won’t be surprised to hear that Peter Gabriel
is extremely polite and respectful to his fans. I recorded the entire encounter
and considered including it here but decided that it’s just for the ears of those
that were there. (Translation – we sound moronic at times.)

Pink Floyd – Azimuth Coordinator

Pink Floyd
Azimuth Coordinator

The set needs no explanation to Floyd Fans, but here’s a little something from the pf-roio:

Wish You Were Here
April 8th, 1975 • Vancouver B.C.
Disc: 1
1. Raving and Drooling 13:39
2. You’ve Gotta Be Crazy 13:23
3. Shine On You Crazy Diamond I-V 12:44
4. Have a Cigar 5:08
5. Shine On You Crazy Diamond VI-IX [faded out] 13:38
6. Speak To Me 5:32
7. Breathe 3:06
8. On the Run [mis-cued] 4:17
Total Time: 71:29

Disc: 2
1. Time 5:11
2. Breathe (reprise) 1:03
3. The Great Gig In the Sky 6:45
4. Money 7:57
5. Us and Them 7:30
6. Any Colour You Like 9:46
7. Brain Damage/Eclipse 6:12
8. Echoes 23:53
Total Time: 68:20

Animals
July 6th, 1977 • Montreal, Quebec
Disc: 3
1. Sheep 12:15
2. Pigs On the Wing I 2:15
3. Dogs 18:16
4. Pigs On the Wing II 4:05
5. Pigs (Three Different Ones) 20:01
6. Shine On You Crazy Diamond I-V 14:11
Total Time: 71:06

Disc: 4
1. Welcome to the Machine 8:16
2. Have a Cigar 6:15
3. Wish You Were Here 6:41
4. Shine On You Crazy Diamond VI-IX 24:06
5. Money 11:44
6. Us and Them 10:04
Total Time: 67:09

The Wall
February 7th, 1980 • Los Angeles, USA
Disc: 5
1. Intro 1:08
2. In the Flesh? 3:28
3. The Thin Ice 3:27
4. Another Brick In the Wall I 4:03
5. The Happiest Days of Our Lives 1:47
6. Another Brick In the Wall II 6:19
7. Mother 7:49
8. Goodbye Blue Sky 3:22
9. Empty Spaces 7:54
10. Young Lust 5:22
11. One of My Turns 3:51
12. Don’t Leave Me Now 4:02
13. Another Brick In the Wall III 12:38
14. Goodbye Cruel World [mis-cued] 2:29
Total Time: 67:48

Disc: 6
1. Hey You 5:16
2. Is There Anybody Out There? 2:54
3. Nobody Home 3:33
4. Vera 1:14
5. Bring the Boys Back Home 1:28
6. Comfortably Numb 7:25
7. The Show Must Go On 2:47
8. Isn’t This Where We Came In? (announcement) 2:37
9. In the Flesh 5:23
10. Run Like Hell 6:50
11. Waiting For the Worms 4:32
12. Stop 0:31
13. The Trial 7:39
14. Outside the Wall 3:22
15. Drift Away-Blues 12:10
Total Time: 67:43

Band:
Roger Waters
Nick Mason
David Gilmour
Rick Wright

Quality:
• VG+
• CD1-2: VG
• CD3-4: VG+
• CD5-6: VG-
Comments:
Drift Away-Blues on Disc 6 should be played with the ’77 concert, at the end of Disc 4

Peter Gabriel – Passaic, NJ (03/05/77)

Peter Gabriel
“First Time Ever”
1977-03-05
Capitol Theatre
Passaic, NJ, USA

Audience Recording

01 Here Comes The Flood 2:00
02 On The Air 4:45
03 Moribund The Burgermeister 4:35
04 Waiting For The Big One 7:59
05 Why Don’t We 6:59
06 Excuse Me 3:59
07 Humdrum 3:31
08 Solsbury Hill 4:39
09 Ain’t That Peculiar 4:20
10 Song Without Words (Indigo) 3:01
11 All Day And All Of The Night 3:37
12 Here Comes The Flood 5:55
13 Slowburn 5:06
14 Modern Love 4:20
15 Down The Dolce Vita 7:55
16 Back In N.Y.C 5:24

Talking Heads – San Francisco, CA (12/03/77)

Talking Heads - San Francisco - California - 1977 - Sharp Objects

Talking Heads
boot: “Sharp Objects”
December 3, 1977
Old Waldorf Theatre,
San Francisco, CA.
SBD/Pre-FM > DAT > CDR>EAC>WAV>flac

01. Uh-Oh, Love Comes to Town
02. … With Our Love
03. The Book I Read
04. Artists Only
05. Stay Hungry
06. The Big Country
07. New Feeling
08. Thank You For Sending Me an Angel
09. Who Is It
10. Psycho Killer
11. No Compassion
12. No compassion (reprise)
13. 1, 2, 3, stoplight

Pink Floyd – A Real Need: Animals Live

Pink Floyd
“A REAL NEED”
Animals Live
Compiled and edited by Echoes Of The Dark Side Of The Wall
Catalog Number:
CDR.001.EDW

EDW was founded with the primary goal of sharing all the Pink Floyd albums in their live versions. Of course we can not do this with all disks, but it will do with those that can.

We decided to start with Animals. Personally, this is my favorite Pink Floyd’s album. Fortunately, there are records of the dates 1977, although most are of average quality. The audio tracks were added fade in and fade out, to restore the mystique of the studio album. equalizes the final product, in addition to compress some tracks, with Cubase SX.
Track List:

01 – Pigs On The Wing (Part 1)
‘Animals On The Wing’ – Olympiahalle, Munich, West Germany. 27 Feb 1977.

02 – Dogs
Madison Square Garden, New York, NY, USA. 02 July 1977

03 – Pigs (Three Diferent Ones)
‘The Fireman’s Oakland Master’ – Oakland Coliseum, Oakland, CA, USA. 09 May 1977

04 – Sheep
Stade Du Parc Olympique, Montreal, Quebec, Canada. 06 July 1977

05 – Pigs On The Wing (Part 2)
‘The Perfect Day’ – Boston Garden, Boston, MA, USA. 27 June 1977

Total time: 51:28

Artwork Included.

We hope you enjoy this RoIO as much as us. We are amateurs, but we expect progress over time and contribute to this huge community of Pink Floyd RoIO & VoIO fans!
Thanks you very much!!

E∑D∑W Staff

The Who – London, England (12/15/77)

THE WHO
Exploding Drummer
THE LAST SHOW OF KEITH MOON !
Gaumont State Theatre
Kilburn, London UK
December 15, 1977

From Original Silver CD
VG+ to EX Recording
Original ARTWORK

1 introduction
2 I can’t explain
3 substitute
4 baba o’ reily
5 my wife ( OFFICIAL TRACK REMOVED )
6 behind blue eyes
7 dreaming from the waist
8 pinball wizard
9 I’m free
10 tommy’s holiday camp
11 summertime blues
12 shakin’ all over
13 my generation
14 join together
15 who are you
16 won’t get fooled again

Billy Joel – Uniondale, NY (12/11/77)

Billy Joel
The Entertainer In New York
December 11, 1977
Nassau Veterans Memorial Coliseum
Uniondale, NY, USA

Main Stream
MSBR-70A/B
Source: Silvers > EAC > WAV > jetAudio > FLAC

Disc 1
01 Soundcheck / Introduction
02 The Mexican Connection
03 The Stranger
04 Somewhere Along The Line
05 Summer, Highland Falls
06 Piano Man
07 Scenes From An Italian Restaurant
08 Travelin’ Prayer
09 Movin’ Out (Anthony’s Song)
10 Still Crazy After All These Years
11 Just The Way You Are
12 Prelude / Angry Young Man
13 New York State Of Mind

Disc 2
01 The Entertainer
02 Vienna
03 Root Beer Rag
04 She’s Always A Woman
05 I’ve Loved These Days
06 Miami 2017 (Seen The Lights Go Out On Broadway)
07 The Ballad Of Billy The Kid
08 Have Yourself A Merry Little Christmas / Captain Jack
09 Say Goodbye To Hollywood
10 Only The Good Die Young
11 Get It Right The First Time
12 Souvenir

Note:
Artwork denotes wrong track list.

Artwork:
Disc 2 Track 8: Have Yourself A Merry Little Christmas
Disc 2 Track 9: Captain Jack

Correction:
Disc 2 Track 8: Have Yourself A Merry Little Christmas / Captain Jack

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

Tom Waits – Boston, MA (10/05/77)

Tom Waits
1977-10-05 Late Show
The Paradise Theatre
Boston, MA

Source: WBCN FM Simulcast -> Alan Bershaw’s Reel Master @ 3.75ips

Transfer: Reel Master @ 3.75ips played back on original TEAC A-4010S recording deck (on January 5, 2012) -> Lexicon Lambda-> Logic (track indexing only, no processing whatsoever)-> 16/44.1 AIFF -> CD

Additional Lineage: CD > ? > FLAC (it was not specified) > TLH (fixed SBEs) > FLAC

Personnel:Tom Waits: vocals, piano, guitar
Frank Vicari: tenor sax
Chip White: drums, vibes, percussion

Note from the original uploader:
Upright bass player on this tour, Danny Mann, is absent. This is an unusual trio configuration for the entire performance.
Virtually flawless open reel master of the entire WBCN simulcast.

01. WBCN intro 00:27
02. Standing On The Corner 05:49
03. Muriel 03:56
04. Invitation To The Blues 03:18
05. Eggs And Sausage 04:54
06. Pasties And A G String 06:31
07. I Never Talk To Strangers 03:25
08. Fumblin’ With The Blues 02:38
09. The Piano Has Been Drinking (Not Me) 03:57
10. Small Change 07:29
11. I Can’t Wait To Get Off Work 03:26
12. Bad Liver and A Broken Heart 04:49
13. Step Right Up 05:58
14. San Diego Serenade 05:04
15. encore 1 cheering (w/DJ banter) 01:21
16. A Sight For Sore Eyes 04:56
17. encore 2 cheering (w/DJ banter) 01:55
18. Big Joe And Phantom 309 06:12
19. WBCN outro 00:46