Derek & The Dominos – Berkeley, CA (11/19/70)

Derek and the Dominos
with Neal Schon
Berkeley Community Theater
Berkeley, CA
November 19, 1970

Disc 1:

  1. Chuck Berry Medley (Little Queenie)
  2. Got To Get Better In A Little While
  3. Key To The Highway
  4. Why Does Love Got To Be So Sad
  5. Tell The Truth

Disc 2:
Mean Old World

  1. Little Wing
  2. Blues Power
  3. Have You Ever Loved A Woman
  4. Let It Rain

The Band:
Eric Clapton guitar, vocals
Carl Radle bass
Jim Gordon drums
Bobby Whitlock keyboards, vocals
Neal Schon guitar

Derek & The Dominos – Berkeley, CA (11/18/70)

Derek and the Dominos
“EC Shuffle Blues”
Community Theatre
Berkeley, California
November 18, 1970

Buffalo Stomp (!) – BS-002-1DD – Aud 3 (Scale 1-6)

Track List:
1) Got to Get Better In a Little While
2) Blues Power / Have You Ever Loved a Woman?
3) Tell the Truth
4) Presence of the Lord
5) Why Does Love Got to Be So Sad?
6) Everyday I Have the Blues
7) Little Queenie / Sweet Little Rock and Roller (*)

Band Lineup:
Eric Clapton Guitar, Vocals
Carl Radle Bass
Jim Gordon Drums
Bobby Whitlock Keyboards, Vocals

Special Guest: (a 16-year-old) Neal Schon

(*) Bonus Track recorded at the Community Theatre, Berkeley, California, on November 19, 1970 (following evening).

(!) “Buffalo Stomp” is the ROIO label name, this should not be confused with the Clapton ROIO of the same name (Silver Horse – SH 8201 A/B)

Geetarz Comments:

Derek and the Dominos played two consecutive nights at the Community Theatre in Berkeley, California, and this recording represents the first of those two nights.

Sitting in with the band that night was a 16 year old Neal Schon. In a 1995 “Off the Record” (Westwood One) interview, this was Schon’s recollection:

“You know, I had been doing a lot of playing in San Francisco … I had lived in the Bay area … I didn’t have a driver’s license … so a good friend of mine, Jackie, that ended up working for Journey later, would come and pick me up on weekends and I’d go play on Broadway … I’d play at [Mike Bloomfield’s] club,and it became this thing, there was like, this ‘buzz’ in the city, about this kid [Schon].

I was in the studio with the Santana band, and we were just jamming, you know, getting high and jamming, and staying up until the wee hours of the morning, and just trying to create some music, and Eric Clapton walked in. You know, Eric Clapton at that time, was like, and before that time, had been like a god to me, a guitar hero, and he walked in and I didn’t even say ‘hello’, I was like so scared he was in the room … and we played all night, and without even saying goodbye to or anything to him he walked out, and I was just still like …in shock.

So I went home, went to sleep at some ungodly hour, got up at 3 or 4, went back to Wally Heider’s in San Francisco where we were rehearsing, and I had a message there waiting at the front desk, and it was from Clapton, and he was playing at the [Berkeley] Community Theatre there that night, and he invited me to play with him.

So, I didn’t have a car, I didn’t have a license … I can’t remember exactly who drove me there … I forget too many things these days, too many drugs (laughs) … but, she drove me, I remember she drove me over there, and I got there about 5 or 10 minutes before he went on stage, and he said “… I’ll go out
and play about two numbers, and then I’ll call you out on stage as a really good friend of mine, and you can stay up the whole rest of the night and play the whole set with me.

I said “yeah, okay … no problem”, because I knew all his songs, all his guitar solos, from record, note-for-note … I wasn’t scared to do it, because I knew all his material, like the back of my hand, I had studied it for so many years … I went on, and just ripped the place up, and he loved it.

He [Clapton] invited me back to his hotel later that evening, and basically was asking me ‘who do you listen to?’, and I said “well, I listen to YOU” and he said bleep, ‘I don’t believe it’, he didn’t believe it and there was this little acoustic guitar in his room, and I played him note-for-note ‘Live Crossroads’
or something, and he was like “I can’t believe that, you’ve taken it where I left it”.

And that’s still [like] the ultimate compliment for me at this point in my life, coming from any guitarist, and I’ll never forget that, a highlight of my life!”

Overall, this is an exceptional performance, and a worthwhile
listen for those intrepid enough to brave a fair to poor audience
recording. Once again I invoke Geetarz’ Law, which states “The best
performances are usually captured by the worst recordings, and
vicey versa”.

Lineage:

Silver > Mitsui Silver CD-R > LiteOn iHAP 322 > EAC v. 0.99 Prebeta 5
(Secure, Offset Correct) > You !

Bob Dylan – Berkeley, CA (05/08/92)

Bob Dylan
May 8, 1992
Berkeley Community Theatre
Berkeley, California

Lineage: CDRs from trade (audience recording) > EAC > FLAC level 6 > dime

Disc 1

  1. Rainy Day Women # 12 & 35
  2. If Not For You
  3. Union Sundown
  4. Just Like A Woman
  5. Drifter’s Escape
  6. I Don’t Believe You (She Acts Like We Never Have Met)
  7. Tangled Up In Blue
  8. Love Minus Zero/No Limit
  9. Little Moses (Bert A. Williams/Earle C. Jones)
  10. Visions Of Johanna
  11. Don’t Think Twice, It’s All Right

Disc 2

  1. Cat’s In The Well
  2. Idiot Wind
  3. The Times They Are A-Changin’
  4. Like A Rolling Stone
  5. Absolutely Sweet Marie
  6. All Along The Watchtower
  7. Blowin’ In The Wind

Bob Dylan – Berkeley, CA (05/07/92)

Bob Dylan
Berkeley Community Theatre
Berkeley, California
7 May 1992
(Remastered)

I made some remastering with Sound Forge 9,I puted some dynamic and a little EQ to improve the vocals .
DC offset has been removed.
I reduced a skip in Tk 8 near 29s.Now the sound is much better.
sbe’s aligned with TLH.

1 intro
2 Rainy Day Women # 12 & 35
3 If Not For You
4 Union Sundown
5 Just Like A Woman
6 Drifter’s Escape
7 I Don’t Believe You (She Acts Like We Never Have Met)
8 Tangled Up In Blue
9 Love Minus Zero/No Limit
10 Little Moses (Bert A. Williams/Earle C. Jones)
11 Visions Of Johanna
12 Don’t Think Twice, It’s All Right

1 Cat’s In The Well
2 Idiot Wind
3 The Times They Are A-Changin’
4 Like A Rolling Stone
5 Absolutely Sweet Marie
6 All Along The Watchtower
7 Blowin’ In The Wind

Bob Dylan (vocal & guitar)
Bucky Baxter (pedal steel guitar & electric slide guitar)
John Jackson (guitar)
Tony Garnier (bass)
Ian Wallace (drums)
Charlie Quintana (drums & percussion)

further info http://www.bjorner.com

legendary taper D

Neil Young – Berkeley, CA (09/15/04)

Neil Young
2004-09-15
Berkeley Community Theatre
Berkeley, California

Vote For Change Tour

Solo

Source: Old EZT
Lineage: Schoeps CCM4 > Aerco > SBM1 > D8 > WAV > CoolEdit > FLAC

Quality: *
Art: Yes

/
01 Pocahontas
02 Harvest Moon
03 On The Way Home
04 Journey Through The Past
05 Cowgirl In The Sand
06 Don’t Let It Bring You Down
07 Birds
08 introduction to Pegi
09 Human Highway *
10 Goin’ Back *
11 Old King *
12 Four Strong Winds *
13 Field Of Opportunity *
14 Comes A Time *
15 Heart Of Gold

*) with Pegi Young.

Van Morrison – Berkeley, CA (10/21/79)

\Van Morrison
1979-10-21
Berkeley Community Theatre
Berkeley, CA

01. Kingdom Hall
02. Bright Side Of The Road
03. Here Comes The Night
04. You Make Me Feel So Free
05. Warm Love
06. Angeliou
07. Full Force Gale
08. Moondance
09. Tupelo Honey
10. I’ve Been Working
11. Brown Eyed Girl
12. Wild Night

Van Morrison – vocals
Pee Wee Ellis – saxophone
Mark Isham – trumpet
Tony Marcus – violin
Pete Wingfield – piano
Peter Van Hook – drums
David Hayes – bass
John Platania – guitar
Herbie Armstrong – guitar
Katie Kissoon – vocals

Bob Dylan – Berkeley, CA (12/04/65)

Bob Dylan
Berkeley Community Theatre
Berkeley, CA
Dec. 4, 1965

Tracks:
Tombstone Blues
I Don’t Believe You
Baby Let Me Follow You Down
Just Like Tom Thumb’s Blues
Long Distance Operator
It Ain’t Me Babe
Ballad Of A Thin Man
Positively Fourth Street
Like A Rolling Stone

Source 1:

LB-9789

Bob’s Boots review: The quality of this CD is well below average by today’s standards, but for a 1965 audience recording, it’s not bad at all. Get over the low fidelity buried sound, and you’ll be rewarded with a gem whose historical value cannot be overstated. It’s a great performance, to start with. Very unlike the raw power that was to follow in the coming year.. but just as good in it’s own rights. Consider it being the only recording of any substance of Dylan & The Hawks (The Band) of that year,… consider that it contains the only know version of the title track,… consider that some of the arrangements are like no other known recording, …. and this CD becomes a masterpiece.

Source 2:

Ashes & Sand Production

heckler:

Hey Bob, how does it feel?
(after “I Don’t Believe You”)

Photographs: Lawrence Alexander Keenan, Jr

Artwork: LTA