Bootleg Bonanza: Van Morrison – Los Angeles, CA (10/06/73)

Van Morrison - Los Angeles 1973

Van Morrison featuring the Caledonia Soul Orchestra
Shrine Auditorium
Los Angeles, CA
October 6, 1973
JF Archive Series Vol. 16 via JEMS

Download MP3@320

Taper: acquaintance of JF

Source: unknown recorder > unknown microphones (stereo)

JEMS 2016 Transfer: master cassette > Nakamichi CR-7A (azimuth adjustment) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX6 > iZotope Ozone 6 > Audacity > TLH > FLAC

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

Known Faults:
-Hard Times: cut
-I Just Wanna Make Love To You: start cut
-Listen To The Lion: small technical glitch

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 continue the JF Archive series, presenting another one of the nine Van Morrison performances 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 tapes, JFís 1973-74 recordings have long been in circulation among collectors. However, this series marks the first-ever digitization and dissemination directly from cassette masters. The recordings were made with low-end equipment but yielded surprisingly listenable results.

The second Shrine show is another significant performance and recording.

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 next is the second-known version of ìTry For Sleep,î which premiered the night before, this being one of only four known appearances. It was finally released in a studio version on 1998ís The Philosopherís Stone.

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 previous night at the Shrine before vanishing forever and tonightís version is even more lively. 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 Van calls it out specifically as a new song, and while it is difficult to understand his full spoken intro, he does appear to say something about it being ìa single.î Fascinating.

Beyond the new material, Van again dips heavily into blues and R&B covers as he did the night before, 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, with one set list change from the previous night at the Shrine as ìMoondanceî replaces ìAnd It Stoned Me.î

So we get all the rare songs from the previous show, plus one change. If you already downloaded the first night (available here: http://www.dimeadozen.org/torrents-details.php?id=601579), do you need the second? Yes, indeed you do, as JFís notes make clear:

ìI attended this show and recorded it, although I appear to have misplaced my tape. This particular recording was done by a guy I met just two or three times. He attended one of the colleges in Claremont, CA, where I lived. At this concert he recorded a single cassette worth of music. As he told me, he was not a Van fan and was just testing out new equipment. Iíve always preferred his recording to my own (now missing in action anyway) because the sound quality is significantly better than what I was getting. When I told him how much I admired the recording, he held the cassette out to me and said, ëHere. Itís yoursí.î

The mystery taper who gave JF his master tape was indeed using better equipment and recorded in stereo, resulting in a recording that is a material upgrade to JFís own efforts from the night before, and, to the best of my knowledge, very likely the best available recording of these rare song performances. It is rich, warm and clear. Samples provided. As a bonus, the taper also recorded five minutes of the opening act, Herbie Hancock, which we have included at the top as it appears on the master cassette.

JF also provided us with with a clipping of the newspaper advertisement for the Shrine shows along with his ticket stubs. 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.

Thanks to Goody for checking the pitch. We always feel better when he has given his blessing to an important transfer. We also want to acknowledge the value and work of http://ivan.vanomatic.de, the definitive Van Morrison setlist archive on the web. It has been a constant reference resource for this entire series. Special shoutout to senormogul9 for helping us confirming the Herbie Hancock track. Finally, And kudos to mjk5510, who continues his yeoman duty as JEMSí post-production and quality-control supervisor. His contributions are absolutely vital in getting the music to you.

BK for JEMS

Lossless Bootleg Bonanza: Paul Simon – Uniondale, NY (06/10/73)

paul simon - amsterdam - 1973

Paul Simon
Nassau Veterans Memorial Coliseum
Uniondale, NY, USA
June 10, 1973
JF Archive Vol. 11 via JEMS

Download: FLAC/MP3

Taper: unknown

Source: unknown recorder > unknown microphone (mono)

JEMS 2015 Transfer: Low generation reel > Otari 5050 mkII azimuth-adjusted transfer >
USBPre 2 > Audacity 2.0 capture (16/44) > IZotope RX > Peak 6.0 pitch adjustment > Audacity (track split, volume smoothing, edit) > FLAC

01 Me And Julio Down By The Schoolyard
02 Run That Body Down
03 Was A Sunny Day
04 American Tune (So Far Away From Home)
05 El Condor Pasa
06 Duncan (cut, faded out)
07 Instrumental (cut, faded in)
08 The Boxer (cut, faded out)
09 Mrs. Robinson (cut, faded in)
10 Congratulations (faded out, tape flip)
11 Kodachrome (faded in, tape flip)
12 Homeward Bound (cut, faded out)
13 Something So Right (cut, faded in)
14 Mother And Child Reunion
15 The Sound Of Silence
16 Jesus is the Answer (cut, faded out)
17 Bridge Over Troubled Water > (cut, faded out)
18 Loves Me Like A Rock (cut, faded in)
19 America >
20 Bye Bye Love (end faded out)

Paul Simon – (acoustic guitar, vocals)

Urubamba band:
Joerge Milchberg (arranger, charango)
Jorge Cumbo (guitars, winds)
Emilio Arteaga (percussion)
Juan Dalera (flute – 1973)

THE JF BACKSTORY
JEMS loves a vintage taper series and we’re pleased to offer another one, this time from the archive of our friend JF, who taped in and around Southern California in the ’70s and later resumed taping in Boston in the ’80s. He frequented smaller venues, like the Troubadour and the Roxy, leaving arenas to others and leaning more towards the folksier, jazzier and eclectic sides of rock.

JF was also an active trader at the time and this recording is one of the uncirculated or under-circulated gems from the early ’70s that are also in JF’s archive. Installment 11 is what we believe to be a previously uncirculated audience pull Paul Simon’s 1973 solo tour stop at the legendary Nassau Coliseum. For the era and given that much of the show is solo acoustic, it offers a listenable if slightly distant ìyou are thereî mono recording. Samples provided.

We shared the recording with frogster who sent some additional insights on the performance:

“Urubamba was the band formed on request by Paul Simon to Joerge Milchberg to reactivate the ‘Los Incas’ for his Live Rhymin’ tour 1973/1974.

They played as a back-up on many songs like ‘Duncan’, ‘The Boxer’, ‘El Condor Pasa’, etc. Urubamba did not appear on any Paul Simon recording, but their former band ‘Los Incas’ recorded ¥El condor pasa¥ (Bridge) and ¥Duncan’ (Paul Simon) with him.

The band can be heard in their 1973 formation on the Live Rhymin’ album released a year later. The band itself does not exist anymore, but their members are all very active today.

The date and venue are verified on the Paul Simon’s site: http://www.paul-simon.info/PHP/showreview.php?id_concert=443 albeit different setlist.

Some cuts here and there, but all the songs are complete; what is cut are the chants or the audience between songs. Unfortunately, there’s no way to tell if any song is missing between the cuts, as the setlist of this recording is 20 songs and the standard setlist on the tour, according to the Paul Simon’s site, was of 20+ songs.”

Taking this one over the finish line on JEMS’ behalf is the aforementioned frogster, who came to our attention through many excellent posts and reposts of late, including a fine comp of early Simon & Garfunkel. Thanks to him for taking it the last mile and to glasnostrd19 who suggested we connect with frogster. Big ups also to Tapeboy who handled the pitch correction as he so often does.

But our heartiest thanks goes to JF, who reached out on DIME (you could be next!) and offered us his archive, which had been sitting in boxes, 6000 miles away from where he lives today, for 20+ years. 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.

BK for JEMS

Lossless Bootleg Bonanza: Joni Mitchell – Anaheim, CA (03/05/74)

Joni Mitchell in 1974 - Anaheim

Joni Mitchell featuring Tom Scott and The L.A. Express
Anaheim Convention Center
Anaheim, CA
March 5, 1974
JF Archive Series Vol. 13 via JEMS

Download: FLAC/MP3

Taper: JF

Source: unknown recorder > unknown microphone (mono)

JEMS 2015 Transfer: first-gen reel > Otari MX-5050 > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX4 > iZotope Ozone 5 > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (edit / index) > xACT 2.21 > FLAC

01 This Flight Tonight
02 You Turn Me On, I’m a Radio
03 Free Man In Paris
04 The Same Situation
05 Just Like This Train
06 Rainy Night House
07 Woodstock
08 Cactus Tree
09 Big Yellow Taxi
10 People’s Parties
11 All I Want
12 A Case Of You
13 Dialogue
14 For The Roses
15 Cold Blue Steel
16 Blue
17 For Free
18 Trouble Child
19 Help Me
20 Car On A Hill
21 Both Sides, Now
22 Raised on Robbery
23 The Last Time I Saw Richard
24 Twisted

THE JF BACKSTORY

JEMS loves a vintage taper series and we’re pleased to offer another one, this time from the archive of our friend JF, who taped in and around Southern California in the ’70s and Boston in the ’80s. He frequented smaller venues, like the Troubadour and the Roxy, leaving arenas to others and leaning more towards the folksier, jazzier and eclectic sides of rock.

Most of his ’70s tapes were made on what I would describe as the kind of large, rectangular, portable, C-cel powered cassette recorder that my family and surely many others had in the ’70s, either a Panasonic or a Sony. While I used ours to record myself, my friends and my sister around the house, the teenage JF figured: Why not try taking it into concerts?

I only learned what recorder JF used after I had heard some of his tapes and I have to say I was mildly shocked. Given the gear, his tapes are remarkably clear for the era. And make no mistake, this was an early era for audience recording, part of the first wave spurred on by of the vinyl bootleg revolution.

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

JONI IN ANAHEIM

The JF Archive series resumes with what we believe to be a previously uncirculated Joni Mitchell performance on her well regarded 1974 tour backed by Tom Scott and the L.A. Express. The tour was notable as her first to explore more of a jazz direction compared to her folk-rock beginnings.

You can find the poster for the show, the ticket, photos and a nice contemporary review here:
http://jonimitchell.com/chronology/detail.cfm?id=1365

Itís a lively set featuring a very talkative Joni. The sound quality isn’t up to the level of the best audience tapes of the tour (among them JEMS’ Seattle 3/13/74 master found here http://www.dimeadozen.org/torrents-details.php?id=318981), but in all, this a lovely performance and another one of those ìyou are thereî recordings, despite the lo-fi gear. Samples provided.

JF did an excellent job capturing the complete performance with no noticeable cuts in the music, Joni’s between song dialogue and stories come through loud and clear.

Though originally recorded on cassette, JF’s Joni recording was transferred from reel-to-reel. That’s because JF, due to tight budgets at the time (he was barely out of high school), routinely transferred his master tapes to reels in order to save tape/money. Because he recorded his masters in mono, he would dub the finished recording onto a single track of a reel, allowing him to fit four or more shows on one 7″ tape and reuse the cassette for the next show. That wasn’t true in all instances, but it is for most. And yes, in hindsight, he is still kicking himself about it. And yet, based on the tapes we’ve transferred so far, JF did a fine job dubbing off his masters, and the Joni reel doesn’t sound any worse for wear despite the one-generation loss.

Once again, we must express our gratitude to JF, who reached out on DIME (you could be next!) and offered us his archive, which had been sitting in boxes, 6000 miles away from where he lives today, for 20+ years. 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.

Lastly, as always, special thanks to mjk5510, who continues his critical duty as JEMS’ post-production and quality-control supervisor. His contributions are essential in getting the music to you.

BK for JEMS

Lossless Bootleg Bonanza: Bob Dylan – Los Angeles, CA (06/03/78)

Bob Dylan - Los Angeles millard_june_3_1978

Bob Dylan
Universal Amphitheatre
Los Angeles, CA
June 3, 1978
Mike Millard first gen via JEMS
The Lost and Found Mike the MICrophone Tapes Vol. Two

Download: FLAC/MP3

Recording Info: AKG 451E mics (CK-1 capsules) > Nakamichi 550

LB-11634

JEMS 2014 Transfer: first-generation reel copy (3-3/4 IPS) made by Mike Millard for SG > Otari 5050 mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX3 > Peak 6.0 with iZotope Ozone 5 (pitch correction) > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (Indexed) >
xACT 2.21 > FLAC (Seamless transfer, disc break is only a suggestion)

missing: A Hard Rain’s A-Gonna Fall, Love Her With a Feeling

101 Baby Stop Crying (joined in progress)
102 Mr. Tambourine Man
103 Shelter From The Storm
104 Love Minus Zero/No Limit
105 Tangled Up In Blue
106 Ballad Of A Thin Man
107 Maggie’s Farm
108 I Don’t Believe You (She Acts Like We Never Have Met)
109 Like A Rolling Stone
110 I Shall Be Released
111 Going, Going, Gone
112 Rainy Day Women # 12 & 35
113 One Of Us Must Know (Sooner Or Later)
114 You’re A Big Girl Now
201 One More Cup Of Coffee (Valley Below)
202 Blowin’ In The Wind
203 I Want You
204 Senor (Tales Of Yankee Power)
205 Masters Of War
206 Just Like A Woman
207 To Ramona
208 All Along The Watchtower
209 All I Really Want To Do
210 Band Introduction
211 It’s Alright, Ma (I’m Only Bleeding)
212 Forever Young
213 The Times They Are A-Changin’

JEMS is pleased to release the second of a series of recordings made by legendary taper Mike Millard, AKA Mike the MICrophone, best known for his masters of Led Zeppelin in and around LA circa 1975-77. For further details on how these tapes came to be lost and found again, as well as JEMS’ history with Mike Millard, please refer to the notes in Vol. One http://www.dimeadozen.org/torrents-details.php?id=500680

Our second installment is from night three of Dylan’s residency at the Universal Amphitheatre in June 1978. This recording is more complete than the first night, but was again joined in progress. Millard’s notes state, “Missed first five minut[e]s of concert,” so his recording omits the show-opening “A Hard Rain’s A-Gonna Fall” and “Love Her With a Feeling,” before he gets his Nakamichi 550 up and running during “Baby Stop Crying.”

Like night one, what Millard did record is, to my ears, mighty fine. Lossless Bob has two entries for this show, both of which appear to be the same recording based on the LB notations that they cut in the same song (“Forever Young”). Millard’s recording has no cuts in “Forever Young,” and while we haven’t done an A-B comparison, that detail suggests it is indeed a new and previously uncirculated source as night one was. Samples provided.

Olof’s essential and detail-rich Still On The Road website notes: “There are (sic) some confusion regarding these shows, the set lists are identical, but some sources claim that Joni Mitchell was present on this show [June 3] rather than the nigh[t] before.” I can confirm that the BobTalk transcription on Olof’s site for June 3 matches Millard’s tape, so it is safe to say Mitchell’s appearance, cited in the June 2 BobTalk, is properly attributed to the correct show.

A few additional notes:

In 1978, the Universal Amphitheatre was an open-air venue

Lossless Bootleg Bonanza: Bruce Springsteen – New Haven, CT (05/18/77)

Bruce Springsteen 1977-03-18 New Haven (Official Aud Vol 5 via JEMS) FRONT

Bruce Springsteen and the E Street Band
featuring the Miami Horns
Veterans Memorial Coliseum
New Haven, CT
March 18, 1977
“Official Audience Recording”
Nothing to Lose: The 1977 Tour Revisited Vol. Five
JEMS Archive

Download: FLAC/MP3

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.
By JEMS

Lossless Bootleg Bonanza: Bruce Springsteen – Toronto, Canada (02/13/77)

bruce springsteen - Toronto - 1977-03-15-front

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

Download: FLAC/MP3

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

Lossless Bootleg Bonanza: Bruce Springsteen – Los Angeles, CA (11/01/80)

bruce springsteen - ls angeles - 1980 - Millard 1st Gen Tapes 1

Bruce Springsteen
Sports Arena
Los Angeles, CA
November 1, 1980
Mike Millard first gen via JEMS
The Lost and Found Mike the MICrophone Tapes Vol. 6

Download: FLAC/MP3

Likely Recording Info: AKG-451E microphones > Uher CR-240 cassette recorder

JEMS 2014 Transfer: first-generation cassettes made by Mike Millard for SG > Nakamichi CR-7A azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (volume smoothing / edit / index) > xACT 2.21 > FLAC

101 Born to Run
102 Out In The Street
103 Tenth Avenue Freeze-out
104 Darkness on the Edge of Town
105 Independence Day
106 Factory
107 For You
108 Two Hearts
109 Jackson Cage
110 The Promised Land
111 Prove It All Night ’78
112 The Price You Pay
113 The River
201 Badlands
202 Thunder Road
203 No Money Down > Cadillac Ranch
204 Hungry Heart
205 Fire
206 Candy’s Room
207 Because The Night
208 Fade Away
209 Stolen Car
210 The Ties That Bind
211 Wreck On the Highway
212 Point Blank
213 Crush On You
214 Ramrod
301You Can Look
302 Drive All Night
303 Backstreets
304 Rosalita
305 Jungleland
306 Sweet Little Sixteen (with Jackson Browne)
307 Detroit Medley > I Hear a Train > Wabash Cannonball

JEMS is pleased to release the sixth in a series of recordings made by legendary taper Mike Millard, AKA Mike th

Lossless Bootleg Bonanza: Bruce Springsteen – Union, NJ (09/22/74)

bruce springsteen - union new jersey - 1974

Bruce Springsteen and the E Street Band
Kean College
Union, NJ
September 22, 1974
JEMS Archive

Download: FLAC/MP3

Audience Recording (equipment unknown) by The Big A

JEMS 2012 transfer: master cassette (TDK D-180) > Nakamichi CR-7A >
Sound Devices USBPre2 > Audacity 2.0 (24/96) capture > iZotope RX
click repair > Peak 6.0 with iZotope Ozone 5.0 (speed corrected) >
resample 16/44.1 via iZotope MBIT+ > FLAC

01 Spirit In The Night
02 Does This Bus Stop At 82nd Street?
03 The E Street Shuffle > Having A Party
04 For You
05 Saint In The City
06 Cupid
07 Kitty’s Back
08 Sandy
09 Rosalta
10 A Love So Fine (A Night Like This) > Shout

JEMS is very pleased to issue this previously uncirculated recording
of an historically important and otherwise unheard show.

The recording from Kean College in Union, NJ is now the earliest
document we have of the “new look” E Street Band featuring Max
Weinberg on drums and Roy Bittan on piano. According to the essential
Brucebase Wiki, this free, outdoor show (which took place behind the
student center) was the fourth date played by the new line-up,
predating by 12 days Avery Fisher Hall, October 4, which had been the
first circulating recording with Max and Roy.

It gives us a fascinating glimpse into a period of transition for
Springsteen. As such, some of the arrangements heard here are
distinctive as the reconfigured band sorts out how to play the “basic”
set. While Bruce had previously performed songs in early 1974 that
would later appear on Born to Run, the only new material essayed at
Kean is a unique version of the Born to Run outtake “A Love So Fine,”
still in such an embryonic state that the chorus sung isn’t “a love so
fine” at all, but another title rumored to have been recorded for BTR:
“A Night Like This.” He also tags the end of the song with several
lyrics from the Isley Brothers’ “Shout.” According to Brucebase, by
the time the song is played again at Avery Fisher, the chorus had
changed to “A Love So Fine” for keeps.

The Kean tape also captures the earliest known cover of Sam Cooke’s
“Cupid” and a particularly punchy full-band version of “For You,” a
song Springsteen performed solo throughout most of 1974-75. Nearly
every track here is a little different than you’re used to given that
two of the band members are still learning their parts.

Our generous taper, The Big A, says he used a “standard-for-the-time,
no-frills, fat-paperback-sized Radio Shack-type tape recorder with a
built-in mike” to record the show. That description seems to match the
tape, which has hallmarks of ALC (automatic level control) where the
first note of a song starts out loud and a bit distorted before the
level adjusts. There are some distorted frequencies in the recording
and it is not as good as the very best we have of the era. But
considering the circumstances (it was the first Bruce show he ever
taped), the outdoor venue, the gear, the PA volume, etc. it is quite a
listenable document of the performance. We worked hard to improve the
sound, but most of what you hear is just what it is. Samples provided.

Very special thanks to The Big A for loaning JEMS the master tape and
to the ER Archive, who had a copy of the show that helped lead us to
the master.

BK for JEMS

Lossless Bootleg Bonanza: Bruce Springsteen – Hampton, VA (01/04/85)

Bruce Springsteen 1985-01-04 Hampton FRONT

 

Bruce Springsteen
Hampton Roads Coliseum
Hampton, VA
January 4, 1985
ML Master via JEMS

Download: FLAC/MP3

Recording Gear: NAK CM 300s + CP 4 (shotgun capsules) > Sony D5

2015 JEMS Transfer: Sony UCX 90 master cassettes > Nakamichi CR-7A (azimuth-adjusted) > Sound Devices USBPre2 (24/96 Audacity 2.0 capture) > iZotope RX 4 > iZotope MBIT+ convert to 16/44.1 .wav > Peak Pro XT (volume smoothing / edit / index) > xACT 2.21 > FLAC

01 Born In The USA
02 Prove It All Night
03 Darlington County
04 Johnny 99
05 Atlantic City
06 Reason To Believe
07 Mansion On The Hill
08 Johnny Bye-Bye
09 Out In The Street
10 Glory Days
11 The Promised Land
12 My Hometown
13 Badlands
14 Thunder Road
15 Cover Me
16 Dancing In The Dark
17 Hungry Heart
18 Cadillac Ranch
19 Downbound Train
20 Iím On Fire
21 Pink Cadillac
22 Bobby Jean
23 Racing In The Street
24 Born to Run
25 Detroit Medley > Traveliní Band
26 Twist and Shout
27 Do You Love Me
28 Santa Claus Is Cominí To Town (Recorder 2 Bonus Track)

Known Faults:
Out In The Street: last few notes cut
Glory Days: first few notes cut
The Promised Land: Splice
Bobby Jean: Splice
Racing In The Street: first few notes cut
Twist And Shout: end slightly cut
Santa Claus Is Comin’ To Town: Missing (Recorder 2 source included)

Courtesy of taper ML, hereís what we believe is a massive upgrade of the very first show of 1985, as the band return to the road after two-and-a-half weeks off. This fresh transfer from MLís fine master tapes sounds light years ahead of circulating copies of the show.

ML taped from a sweet spot, ìthe first row of seats off the floor almost DFCî (Dead Fucking Center). The tape has that classic, appealing ë80s arena sound, clear, steady and with plenty of low end. Samples provided.

The set list lacks for raritiesónot surprising for the first show of a new legóbut still includes highlights from this period like ìJohnny Bye Bye,î the synth-lead ìReason to Believe,î ìRacing in the Streetî and an excellent ìAtlantic City.î

mjk5510 did identify a second source for the show, but it is so inferior as to be a distraction if it were used to patch gaps, so we have left those as is. We did decide to include “Santa Claus Is Coming To Town” as a bonus track in the interest of making the night complete. Thanks to him for doing the prep work on this. And huge thanks to ML for reaching out and loaning us his terrific masters which he was keen to share with all of you.

BK for JEMS

 

Lossless Bootleg Bonanza: Bruce Springsteen – Seattle, WA (10/24/80)

Seattle 80 (JEMS) Front

Bruce Springsteen and the E Street Band
That Old ‘80 Sound
Seattle Center Coliseum
Seattle, WA
October 24, 1980
RS Master via JEMS
16/44.1 Edition
(24/96 Edition release pending)

Download: FLAC/MP3

Recording Gear: Nakamichi 700 microphones > Bass Box EQ > Sony TCD-D5

2013-14 JEMS Transfer: RS master cassettes > Nakamichi CR-7A azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > extensive iZotope RX3 clean up > iZotope Ozone 5 via Peak 6 > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (volume smoothing / edit / index) > xACT 2.21 > FLAC

Project Start Date: October 2013
Project End Date: October 2014
Approximate Project Hours: 35
Years Spent Chasing Down Master Tape: 20+
River Tour Show No. 13

Seamless transfer, suggested CD breaks…

101 Badlands
102 Out in the Street
103 Tenth Avenue Freeze-out
104 Darkness On The Edge Of Town
105 Factory
106 Independence Day
107 Jackson Cage
108 Two Hearts
109 The Promised Land (cut)
110 Racing In The Street
111 The River
112 Prove It All Night
113 Thunder Road
201 Cadillac Ranch (Bruce’s microphone and part of the PA are out)
202 Fire
203 Sherry Darling
204 Here She Comes > I Wanna Marry You
205 The Ties That Bind
206 Wreck On The Highway
207 Point Blank
208 Crush On You
209 Ramrod
210 You Can Look But You Better Not Touch
211 Stolen Car
212 Drive All Night
301 Rosalita
302 Jungleland
303 Born to Run
304 Detroit Medley > I Hear A Train (joined in progress, distortion at the start)
305 Raise Your Hand (joined in progress)