The Who – Toronto, Canada (10/21/76)

The Who
1976-10-21
Toronto, Ontario, Canada
Maple Leaf Gardens

Download FLAC: Amazon Drive

I have two sources for this show, you can read the info here.

Setlist:

  1. I Can’t Explain
  2. Subsitute
  3. My Wife
  4. Baba O’Riley
  5. Squeeze Box
  6. Behind Blue Eyes
  7. Dreaming From The Waist
  8. Magic Bus
  9. Amazing Journey ->
  10. Underture ->
  11. Sparks
  12. The Acid Queen
  13. Fiddle About
  14. Pinball Wizard
  15. I’m Free
  16. Tommy’s Holiday Camp
  17. We’re Not Gonna Take It ->
  18. See Me Feel Me
  19. Summertime Blues
  20. My Generation ->
  21. Join Together ->
  22. My Generation Talking Blues ->
  23. Who Are You
  24. Won’t Get Fooled Again

Band Members:
Roger Daltrey – vocals, harmonica
Pete Townshend – guitar, vocals
John Entwistle – bass, vocals
Keith Moon – drums, vocals

Bob Marley – Upper Darby, PA (04/23/76)

Bob Marley And The Wailers
Tower Theatre
Upper Darby, Pennsylvania
United States
04/23/76

Download FLAC: Amazon Drive

Dubwise Personal Notes: One of my favorite Bob shows. Its very special because its the first time his mother saw him perform.
He does some uncommon songs like Night Shift and Johnny Was and Jah Live. A lot of different talking between songs and lyrical changes.
Bob is in a great mood. Enjoy this remaster.

lineage:SBD to CDR to Flac 6

A GEMS team production
Originally shared at http://www.shnflac.net

Music Provided by John Dubwise Garage DuBois and Danny Savage
Speed Correction by Jason Chastain
Mastering by Jamie Waddell
16 bit 44.1 kHz FLAC in TLH level 8, SBE free

Band lineup Edit
Bob Marley, vocals, rhythm guitar
Aston Barrett, bass
Carlton Barrett, drums
Donald Kinsey, lead guitar
Earl “Chinna” Smith, lead guitar
Tyrone Downie, keyboards
Alvin Patterson, percussion
The I-Threes, backing vocals

  1. Intro
  2. Rastaman Chant -> Lion Of Judah -> Keep The Faith
  3. Roots, Rock, Reggae
  4. Burnin’ And Lootin’
  5. Them Belly Full But We Hungry
  6. Rebel Music 3 O’Clock Roadblock
  7. I Shot The Sheriff
  8. Johnny Was
  9. No More Trouble
  10. No Woman, No Cry
  11. Kinky Reggae
  12. Night Shift
  13. Lively Up Yourself
  14. Rat Race
  15. Want More
  16. Positive Vibration
  17. Get Up, Stand Up -> War
  18. Crazy Baldhead
  19. Jah Live

first show of the Rastaman Vibration Tour in 1976.
first show Marley’s mother Cedella Marley Booker attended.
all new compositions from the Rastaman Vibration album have been played, except for the songs “Who Cap The Fit” and “Cry To Me” which had been re-recorded for the album.
there’s a complete SBD source and an incomplete AUD source, both have been used for bootlegs like
“Rastaman Vibration Tour, Philadelphia 1975”. encore break after “Want More”.
band intros done by Bob Marley during “Kinky Reggae”.
“Jah Live” cuts out.

“Yeah! Are you feeling? Yeah? Good. Well, we check it out, we gonna say ´Roots, Rock, Reggaeª, and this here is reggae music.” –
Marley before “Roots, Rock, Reggae”
“So, this morning I woke up in a curfew, and oh God, I was a prisoner too. I could not recognize those uniforms and faces, as they were standing over me.
They were all dressed in uniforms of brutality. Yeah.” –
Marley before “Burnin’ And Lootin'”
“Well, yeah! Are you all doing? Then good. Yeah, Jah bless you all, you know? Well, Jah live, you know? But this time my belly full, but I’m hungry. A hungry mob is an angry mob.” –
Marley before “Them Belly Full”
“Yeah! So, after ´Roadblockª, you know, there then came the Sheriff, and reflexes did it, you know? Yeah.” – Marley before “I Shot The Sheriff”
“Do I now have to say ´thank youª? I know how, thank you! Now, this one was like, you know, this experience is that… ´Johnny Wasª.
A woman hold her head and cry, ’cause her son had been shot down in the streets and die, all because of the system. Now, the system. The system, talkin’
about the system. You know the system, what the system is? The system, the system! The system, you know? The system we’re living, the system!
Things will strive away [?], you know? So the woman hold her head and cry, ’cause her son had been shot down in the streets and die, from a stray bullet. And I [???].” –
Marley before “Johnny Was”
“Yeeh-ah!” – Marley before “Kinky Reggae”
“Yeeh-ah! So you know what? We’re working on a night shift!” – Marley before “Night Shift”
“Yeeh-ah!” – Marley before “Lively Up Yourself”
“And there’s another thing going on you might not understand you’re aware, and this one we call the ´Rat Raceª! Yeah. Are you ready? You’re ready.” –
Marley before “Rat Race”
“Yeah! There’s some less gonna [?] here that we call down there ´Want Moreª. You see, when they think it’s the end, it’s just the beginning. O.K.!” –
Marley before “Want More”
“Yeeh-ah! So we say that Rastaman Vibration is positive! Jah Rastafari itinually!” –
Marley before “Positive Vibration”

The Who – Seattle, WA (10/14/76)

The Who
1976-10-14
Seattle, WA
Seattle Center Coliseum

Download FLAC: Amazon Drive


Source: Audience
Lineage: Master Reel @ full track mono(Tandberg Model 11)>Wavelab 96/24 1ch
mono>Sox 44.1/16 2ch mono>flac
Taping Gear: Sony ECM-22P mic>Tandberg Model 11 R2R deck
Taped and transferred by JEMS

Band Members:
Roger Daltrey – vocals, harmonica
Pete Townshend – guitar, vocals
John Entwistle – bass, vocals
Keith Moon – drums, vocals

Setlist:

  1. Intro
  2. I Can’t Explain
  3. Substitute
  4. My Wife
  5. Baba O’Riley
  6. Squeeze Box
  7. Behind Blue Eyes
  8. Dreaming From The Waist
  9. Magic Bus
  10. Amazing Journey ->
  11. Sparks
  12. Acid Queen
  13. Fiddle About
  14. Pinball Wizard
  15. I’m Free
  16. Tommy’s Holiday Camp
  17. We’re Not Gonna Take It
  18. Summertime Blues
  19. My Generation
  20. Won’t Get Fooled Again (Original)*
    *Slight cut towards end due to reel change
    Bonus
  21. Won’t Get Fooled Again (Patched)

Length: 107:10

Notes:
JEMS master recording.
This show from the 3rd leg of The Who’s 75-76 North American Tour was recorded
by the ‘S’ in JEMS. It is Keith Moon’s last U.S. performance, and he was in
great form this night, and high in the mix! This show also features a early
‘Who Are You’ improvisation during My Generation. The master tape was missing
about 55 seconds towards the end of Won’t Get Fooled Again (reel change!) This
version includes a patched version, and the orginal incomplete version of Won’t
Get Fooled Again.
tapeboy for JEMS

Bruce Springsteen – New Haven, CT (03/18/77)

Bruce Springsteen and the E Street Band
featuring the Miami Horns
Veterans Memorial Coliseum
New Haven, CT
March 18, 1977

Download FLAC: Amazon Drive


“Official Audience Recording”
Nothing to Lose: The 1977 Tour Revisited Vol. Five
JEMS Archive

JEMS 2015 Transfers

Tracks 1-3: CB master cassette > Nakamichi CR-7A (azimuth adjustment) > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX4 > Peak 6.0 with iZotope Ozone 5 > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (edit / index) > xACT 2.21 > FLAC

Tracks 3-13: Low generation cassette > 1994 DAT > Fostex D-5 > Sound Devices UBSPre2 > iZtotope RX > pitch correction > iZotope Ozone and MBIT+ convert to 16/44.1 .wav > Peak Pro XT (volume smoothing / patch / edit / index) > xACT 2.21 > FLAC

01 Night
02 Don’t Look Back
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 Action in the Streets (w/ Miami Horns)
09 Backstreets
10 Jungleland
11 Rosalita (w/Miami Horns)
12 Born to Run
13 Quarter to Three (w/ Miami Horns)

Known Faults:

  • Night: alternate source
  • Don’t Look Back: alternate source
  • Spirit In The Night: first 3:22 patched with alternate source
  • She’s The One: 18 seconds patched with alternate source

Welcome to the fifth chapter 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. 5 brings Springsteen to New Haven, Connecticut, as the tour settles into its final shows in the northeast, six of which are still to follow. For me, this is a period of near perfection in terms of the caliber of the performances and the sense of urgency that’s palpable in the recordings.

There may be only 13 songs in the set, but Bruce and the band are making every one of them count. My typical listening to material from ’77 has tended to focus on the unique songs, like “Action in the Streets” and “It’s My Life.” But in preparing this show, I was struck by just how good the “standard” songs are. Bruce sings “Spirit in the Night” and “Thunder Road” with every bit as much conviction as he does “Don’t Look Back,” and we all know how special “Backstreets” is every night in ’77. Fresh ears also picked out a lot of distinctive guitar work from Steve and Bruce that I felt I had never noticed before. “We tore it apart and put it together again” indeed.

New Haven is the final “official audience” source in the JEMS Archive. I consider it the best recording of the five, sounding just a bit closer, sharper and with better instrument separation than the previous four. It came to us from a different source than the first four (an insider, not a collector), so it may also be a generation to the good comparitively. But it is incomplete, joined in progress during “Spirit.”

Happily, our pal CB taped the show as well and loaned us his master cassettes. The CB source was previously released by Fanatic; we did a fresh transfer for this release. CB told me he taped from the back of the arena and it sounds like it, but the recording is still clear and fills in what’s missing from the better source to give us the complete New Haven show. Samples provided.

Special thanks yet again to: M and J from JEMS for pulling out our many versions of these DATs and helping make new transfers; to CB, one of “The Original Two” who got the whole Springsteen taping hobby started; the folks on the Stone Pony message board whose thread sparked this series; and to mjk5510 who takes our bits and bobs and gets them all pretty for you.

When the ’77 series returns, we’ll revisit Toronto, Detroit and Toledo, all from fresh master transfers. Until then, enjoy New Haven, and better still, add your thoughts about the show and the recording in the comments.

BK for JEMS

The Lemonheads – New York, NY (10/28/96)

The Lemonheads
Tramps
New York, NY
October 28, 1996
Mixed Soundboard
JEMS Archive

Download FLAC: Amazon Drive

JEMS 2017 Transfer: in-house reference cassette > Nakamichi CR-7A azimuth-adjusted playback > Sound Devices USBPre2 > Audacity 2.0 16/44.1 capture to .wav > iZotope RX6 > TLH > FLAC

It would appear this sprightly Lemonheads performance was professionally recorded for potential use as a source of live tracks or a mini live album to be sent out to radio and aired later as a live Lemonheads broadcast. This recording of the full set was transferred from an in-house reference cassette likely used to approve the mix/sound quality and to select which tracks to use later.

Evan and the band had just released Car Button Cloth two weeks prior. The playing is spirited and the songs hold up very well 20 years later. Dando may have been a bit of a mess back then, but he sure wrote some catchy songs.

An audience tape of the show was posted a couple weeks ago, which prompted me to pull this out of the vault and make a transfer. Thank you very much robgronotte for volunteering to track and post this on our behalf. We always appreciate the help.

BK for JEMS

setlist:

  1. Itís All True
  2. If I Could Talk Iíd Tell You
  3. Itís A Shame About Ray
  4. Tenderfoot (Smudge)
  5. Hospital
  6. My Drug Buddy
  7. Break Me
  8. The Outdoor Type (Smudge)
  9. Losing Your Mind
  10. Somethingís Missing
  11. Confetti > Supernaut (Black Sabbath) snippet
  12. Secular Rockulidge
  13. Rudderless
  14. Hannah & Gabi
  15. Outdoor Miner (Wire)
  16. Being Around
  17. Style
  18. -band intros-
  19. Freak Scene (Dinosaur Jr.)
  20. Itís About Time
  21. Into Your Arms (Love Positions)
  22. -Evan announces upcoming shows-

notes: tracks 14-16 are Evan solo

band: Evan Dando/John Strohm/Bill Gibson/Patrick “Murph” Murphy

Stevie Wonder – New York, NY (01/01/73)

Stevie Wonder
Abe Vigoda’s Birthday Party?!
Unknown Venue
New York, NY
January 1, 1973?
JEMS Archive

Download FLAC: Amazon Drive

JEMS Transfer (by the late great Jared Houser): 10″ presumably master half-track reel > Revox A-700 > Wavelab > .wav > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > FLAC

01 Unknown Song
02 Happy Birthday improv
03 You Are The Sunshine of My Life
04 Blame It On The Sun
05 All In Love Is Fair
06 “Baby I Need Your Love”
07 “Stay With You”

This has to be one of the strangest recordings in the entire JEMS Archive. Yes, you read that right, Stevie Wonder performing at Abe Vigoda’s birthday party on New Years Day 1973. At least that is what’s written on the box of the 10-inch reel that houses this most curious tape. Captured to stereo half-track at 7.5 IPS, the recording offers a 33-minute, seemingly spontaneous performance at what indeed sounds like a lively birthday celebration.

The spine of the tape calls it “Stevie Wonder Jam” and lists the musicians as Wonder on piano, Tim Moore on guitar, David Shaw on drums and Don Moore on bass. The performance is loose enough to require Wonder to shout chord changes to some songs.

The set list features three well-known Stevie tunes, an improvised Happy Birthday number, plus another three songs we have struggled to identify. Are they covers? Unreleased originals? Made up on the spot? Hopefully the DIME community can help us ID the tracks.

Everything I’ve written above is based on the audio itself and the notes on the tape box, which clearly dates from 1973. However, confirming that information has proven difficult, which is one reason we have waited all these years to release it, hoping we would find out more.

First of all, the box does’t actually say “Abe Vigoda,” it says “Vigoda,” so the Abe part is an assumption on our part. Only the late actor’s birthday isn’t January 1 or even close (he was born February 24, 1921). We have also yet to find any news account or record suggesting Wonder and Vigoda knew each other, let alone that this event took place. Yet, there’s no reason to think it didn’t, and certainly no incentive for anyone to label the tape with false information so bizarre.

“All In Love Is Fair” wouldn’t be released until August 1973 on Innervisions, and this performance does have lyrics variations suggesting it could be an early version. “Blame It On The Sun” and “You Are The Sunshine Of My Life” are both from Stevie’s masterpiece Talking Book, released in October 1972. The rest we don’t know.

There is chatter between songs that reinforces the party environment and you can pick up some of the dialogue. The recording itself appears to be from microphones set up on stands to record the occasion. Samples provided.

JEMS obtained this reel nearly 15 years ago from the collection of a sound engineer, and given the other tapes in his possession at that time, the provenance of the recording is strong. The same person recorded Bob Marley within months of this.

While the Vigoda Party Jam isn’t a classic performance, it is most certainly a fascinating listen and another one of those “you are there,” time-machine type recordings. ANY new vintage Stevie Wonder document is historically significant and if we could learn more about the details behind this one, perhaps even more so. Help us if you can. Meanwhile, enjoy some newly discovered Stevie Wonder as a JEMS holiday gift to you.

Thanks to DIME member Superstition for help working out the set list and to mjk5510 for post-production prep and final posting.

BK for JEMS

Peter Gabriel – Los Angeles, CA (04/10/77)

Peter Gabriel
10-Apr-1977
The Roxy
Hollywood CA

Download FLAC: Amazon Drive

Here Comes The Flood
On The Air
Moribund The Burgermeister
Waiting For The Big One
A Song Without Words
Excuse Me
Solsbury Hill
Ain’t That Peculiar
Humdrum
Slowburn
All Day And All Night
Here Comes The Flood
Modern Love
Down The Dolce Vita
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
Phil Aaberg – Keyboards
Jimmy Maelen – Percussion

Source 1:

FM
Quality * A-
Title Los Angeles 1977
(Golden Stars GSCD1179)

Recording Comments Recording comments
nb. whilst this is the track listing on the cd, the first four tracks should actually be listed as:

1.1 Here Comes The Flood/On The Air 6:19
1.2 Moribund The Burgermeister 4:36
1.3 Waiting For The Big One (Part1) 2:36
1.4 Waiting For The Big One (Part2) 5:56

Source 2:

Early Show

FM broadcast from master reel — from JEMS archives

Lineage: JEMS 2014 Transfer: off-air master reel to reel tape > Otari 5050mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX click repair > Peak 6.0 with iZotope Ozone 5.0 > re-sample 16/44.1 > Audigy Audio Cleaning Lab* => FLAC front-end (16-bit)

* Audio Cleaning Lab was used to apply the following effects to the source recording:
– Moderate de-hissing and de-noising (adaptive)
– Boost higher range (primarily 13 kHz)
– Boost lower range (primarily 170 Hz)

The mix on the broadcast improved approximately 15 minutes in; the upper registers opened up and the stereo separation improved slightly. I tried to apply additional EQ lightly on the first portion so that the change appears seamless.

Source 3:

At the Roxy vinyl Boot
LDB Special Series #468

Out of my 17,000+ shows and radio broadcasts, I have many concerts that were special for some reasons: the setlist, the
musicians, the venue or unexpected events. These are the ones I’d like to propose you. Most of these come from my
cassettes collection, so they will be released at a slower pace than my Master Series! But you won’t be disappointed!
I will try to gather the most unusual things I have in my collection and, as always, your feedback and comments will be my
reward for all the work involved in this project.

Lineage: “At Roxy” vinyl boot > 1st generation copy > Teac Tape Deck AD-RW900 > Creative Recon 3D Sound Blaster > HD >
SoundForge 10.0 Pro > CD Wave > FLAC Frontend (level 6)

Source 4:

LDB Special Series #468
“Gilded Sleeve” vinyl boot
Live At The Roxy (KLET FM Broadcast) (Bootleg Vinyl Rip)

Out of my 17,000+ shows and radio broadcasts, I have many concerts that were special for some reasons: the setlist, the
musicians, the venue or unexpected events. These are the ones I’d like to propose you. Most of these come from my
cassettes collection, so they will be released at a slower pace than my Master Series! But you won’t be disappointed!
I will try to gather the most unusual things I have in my collection and, as always, your feedback and comments will be my
reward for all the work involved in this project.


Source 5:

KMET-FM low generation copy

source: KMET FM – remastered by RedNose and LaTortue.

LDB Special Series #468

Source 6:

“Submerge” vinyl boot

Lineage: “Submerge” vinyl boot > 1st generation copy > Teac Tape Deck AD-RW900 > Creative Recon 3D Sound Blaster > HD >
SoundForge 10.0 Pro > CD Wave > FLAC Frontend (level 6)

LDB Special Series #468

Bob Dylan – Houston, TX (01/26/74)

Bob Dylan & The Band
Hofheinz Pavillon
Houston, TX
January 26, 1974

Download FLAC: Amazon Drive

Afternoon Show

Bob Dylan & The Band

Most Likely You Go Your Way (And Iíll Go Mine)
Lay Lady Lay
Just Like Tom Thumb’s Blues
Rainy Day Women # 12 & 35
It Ain’t Me Babe
Ballad Of A Thin Man

The Band

Stage Fright
The Night They Drove Old Dixie Down*
King Harvest (Has Surely Come)*
Loving You (Is Sweeter Than Ever) (inc. cuts out)*
I Shall Be Released*
Up On Cripple Creek

Bob Dylan & The Band

All Along The Watchtower
Ballad Of Hollis Brown
Knockin’ On Heaven’s Door

Bob Dylan Solo

The Times They Are A-Changin’
Don’t Think Twice, Itís All Right ñ
Gates Of Eden
Just Like A Woman
It’s Alright Ma (Iím Only Bleeding)

The Band

Rag Mama Rag*
This Wheel’s On Fire*
The Shape I’m In*
The Weight*

Bob Dylan & The Band

Forever Young
Something There Is About You
Like A Rolling Stone
Most Likely You Go Your Way (And I’ll Go Mine)

* Missing From Source 2

Evening Show

Bob Dylan & The Band
Most Likely You Go Your Way (And I’ll Go Mine)
Lay Lady Lay
Just Like Tom Thumb’s Blues
Rainy Day Women Nos. 12 & 35
It Ain’t Me Babe
Ballad of a Thin Man

The Band

Stage Freight
The Night They Drove Old Dixie Down
King Harvest (Has Surely Come)
When You Awake
I Shall Be Released
Up on Cripple Creek

Bob Dylan and the Band

13 All Along the Watchtower
14 Ballad of Hollis Brown
15 Knockin’ On Heaven’s Door

Bob Dylan Solo

16 The Times They Are A-Changin’
17 Don’t Think Twice It’s Alright
18 Gates of Eden
19 Just Like a Woman
20 It’s Alright Ma (I’m Only Bleeding)

The Band

Rag Mama Rag
This Wheel’s On Fire
The Shape I’m In
The Weight

Bob Dylan & The Band

Forever Young

MIA: Something There is About You, Like a Rolling Stone, Most Likely You Go Your Way (And I’ll Go Mine)

Source 1:

LB-9326

Evening Show Only

JEMS archive
low gen reel to reel (obtained in the ’70s, likely second gen from master) > Otari 5050 mk2 playback (April 2011) > ADL/Furutech GT40 USB audio device > Peak 6.0 > FLAC

On one interesting shelf in the JEMS archives are tapes of Dylan’s 1974 tour with the Band. Our own S taped the Seattle shows and then drove to Oakland (on a gasless Sunday, he’ll remind you, as this was in the middle of the energy crisis) to record both sets there. After the tour completed, S took out classified ad (which I hope to find some day) in Rolling Stone magazine looking to trade tapes of the tour with others who recorded.

He didn’t collect the entire tour, but he did track down a handful of shows on reel to reel, including this late set from Houston. Given when and how it was obtained, and what S has told me over the years, he got these tapes from people who recorded the shows themselves, so there’s a strong reason to believe this show is legitimately second generation. I assume second generation because the cassette may have been moved to a safety reel, of which this is a copy. Given the duration, it appears the taper was on cassette (gear unknown) and captured just north of 90 mins of the show, conserving tape, as was often the case in those days, by pausing between songs.

As such many of these tracks are joined a second or two in progress, but you still come away with feeling of hearing the entire show. As the recent posts of ’74 tapes has made clear, this tour wasn’t consistently well recorded and there are several shows for which the only circulating recordings are often described as passable, listenable or worse. I would call this one very listenable. Not amazing, but based on input from a few tour experts, better than we have had before. Samples provided. I think it is in upgrade and I’ve been working on it for some time, so the release with the rest of the ’74 tour flood is good timing.

Also, unlike the circulating recordings from Houston per Lossless Bob (and this source is likely to be the same as something previously circulated, just lower gen and possible more complete), the full Band set is here. What’s not here is the encore.

JEMS has the afternoon show on a separate reel from what appears to be the same taper. That will come down the road if folks like this source. Please let me know as these old reels are finicky and I want to make sure people care given the effort it takes.

Butterking for JEMS

Source 2:

LB-9345

Afternoon Show Only

Lineage: Low gen tape > CD > EAC > Flac. The Band sets are from different incomplete tapes.[from lk aud set]

LosslessBob entry: LB-2680. hiss comes up for band sets; in comparison to version “aa” this one has less hiss but the sound seems less natural and very narrow so liked “aa” better; this one is better than first version with less hiss but both have similar narrow sound; good sound [C]; comments at end of show match previous afternoon version “aa”. small gaps between tracks except bigger on band tracks; d1t7 is hardly there as cuts; small analog pop d1t11 2:48.

Fix of LB-2680: Wave Repair 4.9.3 to remove gaps between tracks [at least one non-destructive gap was removed after start of “The Night they Drove…” [where to tape spool/edit is present]. Fixed small analog pop d1t11 2:48 and a couple of others present > FLAC

Source 3:

LB-9357

Afternoon Show Only

Source: Audience
Lineage: low gen reel to reel (obtained in the ’70s, likely second gen from master)>wav>flac
Transfer: low gen reel to reel>Otari 5050 mk2 playback (April 2011)>ADL/Furutech GT40 USB audio device>Peak 6.0>wav
Taping Gear: unknown>unknown
Taped By: Unknown
Transferred by: JEMS
Reel tape and transfer courtesy of the JEMS Archives

Notes:
On one interesting shelf in the JEMS archives are tapes of Dylan’s 1974 tour with the Band. Our own S taped the Seattle shows and then drove to Oakland (on a gasless Sunday, he’ll remind you, as this was in the middle of the energy crisis) to record both sets there. After the tour completed, S took out classified ad (which I hope to find some day) in Rolling Stone magazine looking to trade tapes of the tour with others who recorded.

He didn’t collect the entire tour, but he did track down a handful of shows on reel to reel, including the early and late sets from Houston. Given when and how it was obtained, and what S has told me over the years, he got these tapes from people who recorded the shows themselves, so there’s a strong reason to believe this show is legitimately second generation. I assume second generation because the cassette may have been moved to a safety reel, of which this is a copy. The taper conserved tape, as was often the case in those days, by pausing between songs.

As such many of these tracks are joined a second or two in progress, but you still come away with feeling of hearing the entire show. As the recent posts of ’74 tapes has made clear, this tour wasn’t consistently well recorded and there are several shows for which the only circulating recordings are often described as passable, listenable or worse. This one is really good all considering better than passable and better and more complete than the late show recording in all aspects. It is not a perfect recording by any means but it is a very enjoyable and clear sounding for the most part. Unlike other versions out there this contains The Band’s portion of the set pretty much complete with only Loving You (Is Sweeter Than Ever) cutting out prematurely. We believe this to be an upgrade in sound quality and completeness to all existing circulating copies but you the listener will be the ultimate decider on that (but we do believe you will come to the same conclusion after listening).

Butterking for JEMS

Peter Gabriel – Los Angeles, CA (04/10/77)

Peter Gabriel (with Robert Fripp on guitar)
April 10, 1977
The Roxy
Los Angeles

Download FLAC: Amazon Drive

Here Comes The Flood
On The Air
Moribund The Burgermeister
Waiting For The Big One
A Song Without Words
Excuse Me
Solsbury Hill
Ain’t That Peculiar
Humdrum
Slowburn
All Day And All Night
Here Comes The Flood
Modern Love
Down The Dolce Vita
Back In NYC

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
Phil Aaberg – Keyboards
Jimmy Maelen – Percussion

Source 1:
Sound Quality: A
LIBERATED BOOTLEG
Los Angeles 1977
Unknown source > Silver CD > wav (through EAC) > flac (level 8)

I downloaded this show from dimeadozen.org. The lineage has remained unchanged.
The sound quality is outstanding. I would imagine that it’s soundboard or pre-FM.
I hope you enjoy it.

Source 2:

Early show

FM broadcast from master reel — from JEMS archives

Lineage: JEMS 2014 Transfer: off-air master reel to reel tape > Otari 5050mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX click repair > Peak 6.0 with iZotope Ozone 5.0 > re-sample 16/44.1 > Audigy Audio Cleaning Lab* => FLAC front-end (16-bit)

* Audio Cleaning Lab was used to apply the following effects to the source recording:
– Moderate de-hissing and de-noising (adaptive)
– Boost higher range (primarily 13 kHz)
– Boost lower range (primarily 170 Hz)

The mix on the broadcast improved approximately 15 minutes in; the upper registers opened up and the stereo separation improved slightly. I tried to apply additional EQ lightly on the first portion so that the change appears seamless.

* 1st 35 seconds patched from alternate broadcast source
** 54 seconds mid-song patched from alternate broadcast source

Info and md5 signature file are included. Sorry, no artwork. Please don’t circulate this with the artwork of any of the multiple existing versions of this performance.

Note: There are no fades applied to this recording, so the disc splits above are merely a suggestion. You can split between CDs (assuming you burn to CD) anywhere you wish.

Comments:
In mid-February 2014, “metro_cubo” shared a variety of sources of this famous Peter Gabriel show, several of which are still on the tracker as of this writing (March 2014). This inspired the JEMS team to pull out and digitize an uncirculated master reel from their (apparently bottomless) archives, and they asked me to see what I could do with it. I was happy to contribute what I could; this radio broadcast was widely bootlegged in the 1980s and among the first bootleg LPs I ever bought. The quality doesn’t really hold up to the standards of modern FM broadcasts, but I have an attachment to it because I played it to death while I was growing up, and it remains one of my favorite solo Peter Gabriel shows.

The back-story, for those who don’t know it — this show took place roughly a month into Peter’s first solo tour; he played two nights (4/9-4/10) at the Roxy in Los Angeles, with two performances each night. This recording captures the early show on the second night, carried live on various radio stations around the United States. According to the DJ chatter, this marks the first attempt at a live nationwide simulcast of a concert performance. You’ll hear during the encore break (d2t8) a partial listing of the stations who carried the performance as it happened; it must have been quite a breakthrough to do this in real-time in the 1970s.

Given how closely Peter was associated with Genesis, it’s interesting that even on his first tour he chose to focus almost entirely on material from his only solo album, with only one track (“Back in NYC”) from his Genesis catalog. The 80-minute set was filled out with covers (Marvin Gaye’s “Ain’t That Peculiar” and the Kinks’ “All Day and All Of The Night”) and even an unreleased track (“A Song Without Words,” which later became “Indigo”). Listening to this show makes one appreciate what a strong album his debut release was — there is literally not a weak song in the set.

The performance, like every other show I’ve heard from this tour, was fantastic, augmented with a top-notch band that featured Robert Fripp (performing under the pseudonym “Dusty Rhodes,” who according to legend remained entirely behind a curtain for the whole show). If you don’t have any of the multiple releases of this concert (or for that matter, anything from this tour), it’s worth the download.

In terms of the recording, it is very good given the era — but not perfect. The vocals distort a bit during the louder portions, and the mix is kind of shaky in points. Furthermore, there was a fair amount of hiss in this recording (and probably evident in the broadcast itself, given that this source is a master reel that has probably not been played much). The tweaks I made in Audio Cleaning Lab removed the majority of the hiss and surprisingly brought out nuances in the guitars and keyboard; the vocals are still too low for my liking, but overall this is a very enjoyable recording of a great concert.

As noted above, there were two dropouts on this reel which have been patched from an alternate KMET broadcast source that is still on the tracker. I provided a sample of one of them (“Waiting For The Big One”) which shows the improvement in quality for this source compared to the version already in circulation.

I’m sure there are dozens of versions of this broadcast in circulation; I can’t say by any means that this is “definitive,” but am confident that this will compare favorably with most.

Many thanks to JEMS for making this one available to the masses. Mp3 samples are included in the comments.


Source 3:

LDB Special Series #468

Lineage: “At Roxy” vinyl boot > 1st generation copy > Teac Tape Deck AD-RW900 > Creative Recon 3D Sound Blaster > HD >
SoundForge 10.0 Pro > CD Wave > FLAC Frontend (level 6)

Source 4:

LDB Special Series #468 – Gilded Sleeve

Title: Gilded Sleeve – Live At The Roxy (KLET FM Broadcast) (Bootleg Vinyl Rip)

Venue: The Roxy, West Hollywood CA (Early Show)

Date: 10-Apr-1977

Media: Vinyl

Matrix Number: 8234 A/B

Plain Yellow Label – Black Vinyl

Quality: Excellent

Source 5:

LDB Special Series #468

Peter Gabriel – Live at the Roxy – Los Angeles, CA
04-10-1977 – Early Show
source: KMET FM – remastered by RedNose and LaTortue.

Van Morrison – Los Angeles, CA (10/05/73)

Van Morrison featuring the Caledonia Soul Orchestra
Shrine Auditorium
Los Angeles, CA
October 5, 1973

Download FLAC: Amazon Drive

JF Archive Series Vol. 15 via JEMS

Taper: JF

Source: unknown recorder > unknown microphone (mono)

JEMS 2016 Transfer: JF master TDK cassette > Nakamichi CR-7A (azimuth adjustment) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX6 > iZotope Ozone 5 > Peak Pro 6 (post production) > FLAC

01 Ainít Nothing You Can Do
02 Iíve Been Working
03 And It Stoned Me
04 I Paid The Price
05 Here Comes The Night
06 Hard Times
07 Boogie Chillení
08 I Just Want To Make Love To You
09 Try For Sleep
10 Into The Mystic
11 Listen To The Lion (tape alignment issues)
12 Warm Love
13 You Done Me Wrong
14 Caravan
15 Cyprus Avenue
16 Gloria
17 Domino

Sid Page – violin
Jack Schroer – saxophone
Bill Atwood – trumpet
John Platania – guitar
David Hayes – bass
David Shaw – drums
Jef Labes – piano, organ

JEMS is thrilled to renew the JF Archive series, presenting another one of the nine Van Morrison performances JF recorded in and around Southern California circa 1973-74. For further details and backstory on JF, his tapes and the extraordinary lost Van performances from 1975 that started the series, please refer to the notes in Vol. Three:

http://www.dimeadozen.org/torrents-details.php?id=524853

Unlike the initial Lost California series, JFís 1973-74 recordings have long been in circulation among collectors. However, this series marks the first-ever digitization and dissemination directly from his cassette masters. The recordings were made with unlikely equipment but yielded surprisingly listenable results.

The first Shrine show is a significant one indeed. Vanís setlist had evolved substantially since the Troubadour gigs in June, the most interesting changes to which were the inclusion of three new songs unreleased at the time. The first, ìI Paid The Price,î only saw official release on last yearís expanded edition of Itís Too Late To Stop Now. This is one of its five known performances, all in 1973. The second is the debut of ìTry For Sleep,î rarer still, with only four known appearances. It was finally released in a studio version on 1998ís The Philosopherís Stone.

But the third, ìYou Done Me Wrong,î turns out to be more special still. It remains unreleased to this day, with no known studio recording. On top of that, it would only ever be performed at this show and the next night at the Shrine before vanishing forever. It name-checks some serious villains, from the Cosa Nostra to Jesse James, against a rollicking musical backdrop. Without JFís tapes, weíd never have the chance to hear it. Some websites list ìYou Done Me Wrongî as a cover of the Ray Price tune of the same name, but it has completely different lyrics and Van calls it out specifically as a new song.

Beyond the new material, Van dips heavily into blues and R&B covers, including Bobby ìBlueî Blandís ìAinít Nothing You Can Do,î Ray Charlesí ìHard Times,î John Lee Hookerís ìBoogie Chilleníî and Willie Dixonís ìI Just Want To Make Love To You.î The rest of the show is crowd-pleasing material going all the way back to ìHere Comes The Nightî and ìGloria,î plus classics like ìAnd It Stoned Me,î ìCaravanî and ìDomino.î

As for the recording, JF used the same low-end gear as his other masters and pulled the same listenable results. Because we have the master tapes, hiss is not an issue, even in the quietest moments of the show. There is an issue after the flip to side two, where the tape doesnít align properly causing some serious wow and flutter that clears up after a few minutes. Overall, the sound does have a touch of harshness in the peaks, but if youíve downloaded other titles in the JF series youíll find this familiar and still satisfying. Samples provided and artwork included.

Here are JFís reflections of the show:

ìBy this time my girlfriend Laura was bringing in both a great SLR camera and my cassette recorder. This was back when anybody could come in with a camera. Sometimes, like on this night, Laura would just walk up to the photographerís pit and join the pros shooting Van or whoever else we were seeing while I would sit in my seat and record, holding the mic up in front of me, pointing it at the stage while keeping an eye out for ushers. I was sitting at the front of the balcony (called the loge on my ticket) where I had pretty good aim at the stage.

Supporting act for the two Shrine shows was Herbie Hancock, definitely not someone I would have been exposed to at that time in my life without Van.î

JF provided us with two of the fantastic images Laura shot that night, along with clippings of the newspaper advertisements for the Shrine shows. Weíve included them in the files.

Once again, our gratitude goes to JF, who reached out on DIME (you could be next!) and offered us his archive, which had been sitting in boxes for over 20 years, 6000 miles away from where he lives today. Like so many early tapers, he had great stories to tell and the memories flooded back as we sorted through tapes. We are pleased to be able to bring his work to all of you. Please let him know through your comments that you are, too. We also appreciate the unnamed Van collectors who helped get JFís masters back in his control.

Pitch adjustments are courtesy of your friend and ours, Goody. Thanks to him. Finally, extra kudos to mjk5510, who continues his yeoman duty as JEMSí post-production and quality-control supervisor. His contributions are essential in getting the music to you.

BK for JEMS