Neil Young – Montreal, Canada (02/12/91)

NEIL YOUNG & CRAZY HORSE
Forum, Montreal, Quebec, Canada
February 12, 1991

Download FLAC: Amazon Drive

01 Hey Hey, My My
02 Crime In The City
03 Blowin’ In The Wind
04 Love To Burn
05 Cinnamon Girl
06 Mansion On The Hill
07 Fuckin’ Up
08 Cortez The Killer
09 Powderfinger
10 Love And Only Love
11 Rockin’ In The Free World
12 Tonight’s The Night

Neil Young – vocals, guitar
Frank Sampedro – guitar, keyboards, vocals
Billy Talbot – bass, vocals
Ralph Molina – drums, vocals

Total Time = 01:39:34

Recorded from Audience
Equipment used : Sorry I don’t know

Lineage of transfer : by AV
Analog tapes 1st generation transfered on DAT>DAT MASH SV10>
OPTICAL CABLE>M-AUDIO Audiophile firewire>
FIREWIRE>PC>GOLDWAVE (16 bit 48 Khz)

Resample at 16 bit 44.1 Khz entire WAVE FILE) + PITCH Adjusted
BBE sonic maximizer>NO Equalization>GOLD WAVE
Tracks splits>Encoded in Flac (level 6)
with FLAC FRONTED + TLH Md5 & Fingerprint

Art covers by AV

Bob Dylan – Montreal, Canada (12/04/75)

Bob Dylan & The Rolling Thunder Revue
Montreal Forum
Montreal, Quebec, Canada
December 4, 1975

Download FLAC: Amazon Drive

Concert Set List:

Disc 1 [73:02.211]

Track Time Name

01. [03:39.500] 01 Good Love Is Hard To Find
02. [03:43.690] 02 Sleazy
03. [05:17.212] 03 Hula Hoop
04. [06:20.951] 04 Werewolves Of London
05. [03:02.742] 05 Don’t Blame Me
06. [04:42.639] 06 Laissez Faire
07. [03:51.752] 07 Catfish
08. [03:24.181] 08 Too Good to be Wasted
09. [04:06.239] 09 Life On Mars?
10. [02:25.593] 10 Band Introduction
11. [03:39.396] 11 Hank Williams
12. [03:47.423] 12 Need A New Sun Rising
13. [03:42.943] 13 Cindy (When I Get Home)
14. [03:21.583] 14 Mercedes Benz
15. [03:30.556] 15 Woman of Heart and Mind
16. [04:59.947] 16 Shadows and Light
17. [05:37.136] 17 Coyote
18. [03:48.728] 18 Don’t Interrupt the Sorrow

Disc 2 [48:36.316]

Track Time Name

01. [01:45.840] 19 Ramblin’ Jack
02. [03:30.689] 20 San Francisco Bay Blues
03. [03:51.291] 21 House Of The Rising Sun
04. [03:39.583] 22 Grand Coulee Dam
05. [03:00.605] 23 Salt Pork, West Virginia
06. [04:30.399] 24 I’m a Ramblin’ Boy
07. [04:17.078] 25 When I Paint My Masterpiece
08. [05:30.587] 26 It Ain’t Me Babe
09. [05:22.361] 27 Lonesome Death of Hattie Carroll
10. [03:59.000] 28 Tonight I’ll Be Staying Here With You
11. [05:51.668] 29 Hard Rain’s A-Gonna Fall
12. [03:17.215] 30 Romance in Durango

Total Recording Time [121:38.527]

Date: 12.04.1975
Tracks: 30
Total Time: 2:01:23
Catalog: Bill Graham Avg Rating: ****

Bob Dylan – vocals, guitar, harmonica
Bob Neuwirth – guitar, vocals
Ronee Blakley – vocals, piano
T-Bone Burnett – guitar
Steven Soles – guitar
Mick Ronson – guitar
David Mansfield – steel guitar, mandolin ,dobro, violin
Scarlet Rivera – violin
Rob Stoner – bass
Howie Wyeth – piano, drums
Luther Rix – drums, percussion
Joni Mitchell – vocals, guitar
Ramblin Jack Elliot – guitar, vocals

Soundboard Recording > ? > wgv (192 kbps streaming version) > GM/GS(R) Roland Corporation U.S. Soundcard > Total Recorder 8.0 (build 3844) Standard Edition > wav (44.1k, 16 bit, stereo) > wav (Adobe Audition 1.0 / edit & split) > flac (flac 1.2.1b w/flac frontend 1.7.1 – align on SB option – level 8 – verify on)

Concert Summary: Other than Bob Dylan’s 1965/66 era, when he first embraced an electric guitar on stage, has a tour sparked more perpetual interest than his Rolling Thunder Review tour a decade later. Its no wonder the tour has become so legendary, as in addition to the long list of musical luminaries along for the ride; Dylan was at yet another creative peak. Having released one of his greatest (and most personal) albums, Blood On The Tracks the previous year and hot off the sessions for the follow-up. Desire, Dylan had an abundance of excellent new material. By nearly all accounts, the first leg of the tour, at the tail end of 1975, had the greatest intensity and contained many of Dylan’s most memorable performances. Although debate continues as to which Rolling Thunder performances were greatest, most agree that the December 4th Montreal show was a peak moment, if not one of the best nights of the tour. When Dylan released his first seriously thought out career retrospective box set in 1985, “Biograph,” the “Romance In Durango” and cataclysmic version of “Isis” from this night’s first set were chosen to represent the era. Here we present Bill Graham’s pristine soundboard recordings of that very same first set in Montreal, which contains the remainder of the performances, including all the great artists leading up to Dylan.
As was the general format during the 1975 leg of the tour, the show begins with a double dose of Dylan’s close friend and MC for the shows, Bobby Nuewirth. Backed by Guam (as the core RTR musicians were known) he kicks things off with “Good Love Is Hard To Find,” followed by “Sleazy.” Following these openers, Nuewirth becomes master of ceremonies and one by one introduces some of the core band members, who each do a song or two of their own. First up on this night is guitar player, T-Bone Burnett, with the esoteric original, “Hula Hoop” and Warren Zevon’s classic “Werewolves Of London.” The other Guam guitarist, Steven Soles, goes next with covers of Jimmy McHugh’s “Don’t Blame Me” and David Ackles’ “Laissez-Faire.” Bassist Rob Stoner next takes a turn with Dylan’s tribute to baseball player “Catfish” Hunter, followed by his hilarious self-pity song, “Too Good To Be Wasted (Too Wasted To Be Good).”
Mick Ronson, guitarist and arranger from David Bowie’s legendary Ziggy Stardust band also takes a turn with “Life On Mars.” For obvious reasons, often confused with David Bowie’s Hunky Dory LP track, this song was written by Bob Barnes and shares nothing in common with the Bowie song, other than the title. Following Ronson, Neuwith does a few introductions and then invites Nashville singer and actress Ronee Blakely to the stage, to duet with him on the homage to Hank Williams “Alabama Dark.” Blakely then takes a seat at the piano and leads the band through her own “Need A New Sun Rising.” Nuewirth takes over again on the next two numbers. First performing “Cindy (When I Get Home),” followed by “Mercedes Benz,” the song he and Janis Joplin wrote, immortalized on her Pearl LP and one of her last recordings.
Much to the delight of the Montreal audience, the first “special guest” of the evening is up next, Joni Mitchell. After several massively successful albums in the early ’70s, Mitchell had retreated into seclusion for some time and her brief stint with the Rolling Thunder Review not only signified a welcome return to the stage, but was also a showcase for new material. Mitchell was beginning to head in a new direction that would take both fans and critics years to catch on to, but the embryonic stages of that transition can clearly be heard on this four-song set. Three new songs destined for her transitional and controversial next album, 1975’s Hissing Of Summer Lawns, are previewed here. Also, of particular note is an embryonic “Coyote,” one of the most intriguing songs to later surface on Hijera. Written on this tour and a direct reflection of her experiences, Mitchell even acknowledges writing the fourth verse just the night before.
Following Joni’s mini-set, Neuwirth pays homage to Ramblin’ Jack Elliot, with a song that takes his name and serves as a fitting introduction to the man himself. Ramblin’ Jack gets a mini-set of his own; performing engaging reads of “San Francisco Bay Blues” and “House Of The Rising Sun” followed by Woody Guthrie’s “Grand Coulee Dam.” The band joins in for two more as he closes his set with “Salt Pork West Virginia” followed by “Rich And Ramblin’ Boy.”
With no fanfare, not even an introduction, Dylan joins the existential gypsy caravan on stage. Dylan begins with “When I Paint My Masterpiece,” a song he contributed to the Band’s Cahoots LP several years before, a song of weary travel and the elusiveness of the muse.
Dylan’s choice of material, despite spanning well over a decade of his career, conveys a distinctive unity and displays one of his greatest strengthsóa beautiful disregard for professional songwriter polish. This elasticity in his approach to his material is what makes his performances on this tour so immediately engaging, not only for the audience, but also for Dylan himself.
The next two numbers, “It Ain’t Me Babe” and “The Lonesome Death Of Hattie Carroll,” have enticingly ragged new arrangements and leave no doubt that Dylan is fully engaged in the material. In stark contrast to the over hyped Dylan/Band Tour from the previous year, where he often seemed distracted; on this tour, and specifically on this first leg, his commitment to the moment is palpable at all times. Next up is a delightful performance of “Tonight I’ll Be Staying Here With You” followed by a surprising high energy arrangement of “A Hard Rain’s A Gonna Fall.”
The recording concludes with Dylan bringing out violinist, Scarlet Rivera, to perform on a song from the recent Desire sessions. The spicy “Romance In Durango,” although incomplete, is immediately captivating, with Dylan compressing the syllables and stabbing at the lyrics in a very dynamic manner. His skillful concentration of language makes the more spacious lines of the lyric all the more penetrating. It’s this new approach, where Dylan’s lyric delivery serves the feel of the music (as opposed to the other way around) that makes his performances on this tour so utterly fascinating.

Note: Track split is as it came through wgv stream. I just carefully removed the gaps on track transitions, edited as seamless as it gets, but didn’t move the marks from where the silences started.

Enjoy!

Luisbp51 (Hungercity November 29, 2010)

David Bowie – Montreal, Canada (07/12/83)

David Bowie
Montreal Forum
Montreal, Quebec
JUL 12, 1983

Download FLAC: Amazon Drive

Set I
1 Look Back In Anger 03:17
2 Breaking Glass 02:56
3 Scary Monsters (And Super Creeps) 03:32
4 Rebel Rebel 02:27
5 Heroes 05:05
6 What In The World 03:59
7 Life On Mars? 04:07
8 Sorrow 02:49
9 Golden Years 03:38
10 Fashion 02:51
11 Let’s Dance 04:44
12 Red Sails 03:37
13 China Girl 05:16
14 White Light / White Heat 05:47

David Bowie – vocals, guitar
David LeBolt – keyboards
Lenny Pickett – saxophone
Stan Harrison – baritone sax
Steve Elson – tenor sax
Carlos Alomar – guitar
Earl Slick – lead guitar
Carmen Rojas – bass
Tony Thompson – drums
George and Frank Simms – backing vocals

SET 2

1 Station To Station 09:00
2 Cracked Actor 03:23
3 Ashes To Ashes 03:41
4 Space Oddity 05:16
5 Band Introduction 01:37
6 Young Americans 05:33
7 Cat People (Putting Out Fire) 04:14
8 TVC 15 03:53
9 Fame 04:58
10 Star 02:37
11 Stay 09:01
12 The Jean Genie 07:01
13 I Can’t Explain 02:48
14 Modern Love 04:24

From the original uploader:

Notes for set 1

This set is taken from the two-night stand David Bowie gave at the Montreal Forum in 1983. Each show during this Serious Moonlight tour had two sets with a 20-minute intermission, resulting in over 90 two hour-plus concerts in 15 countries in 1983.
After a period of releasing dark, more experimental albums such as Low, The Lodger and Scary Monsters in collaboration with Brian Eno while living as a single man in Berlin, Germany, a string of only semi-successful commercial hits and battling a well-publicized cocaine addiction, David Bowie overcame his demons and teamed up with Chic member and producer, Nile Rodgers. The result was 1983’s Let’s Dance, a commercial record that most critics continue to regard as one of his best.
Smiling and obviously happy with his newfound artistic muse, David Bowie greeted a sold out Montreal forum on this night, and launched into a brilliant show full of both hits from Let’s Dance and some of the more radio-friendly tracks he had done during his Berlin sojourn. Fronting a killer band, Bowie began the evening with three lesser known hits – “Look Back In Anger,” “Breaking Glass” and “Scary Monsters (And Super Creeps)” – before launching into “Rebel, Rebel,” his 1974 hit single from the Diamond Dogs LP. This tour reunited Bowie with guitarist Earl Slick, who had replaced Mick Ronson for the Diamond Dogs recording sessions. Slick delivers the rock edge that had been missing from his music made during the Berlin years. The band is propelled by former Chic/Power Station drummer Tony Thompson, who, along with members of the Tower of Power horn section, helps make this one of the best backing bands in his long musical career.
The majority of the set is essentially a collection of Bowie hits that includes “Heroes,” “Life on Mars?,” “Fashion” and his two big radio hits from Let’s Dance: the title track and the ever infectious “China Girl.” Other highlights include Bowie’s version of the classic 1967 Pretty Things hit, “Sorrow,” (which he originally recorded for 1973’s Pin Ups record) and his modern re-make of The Velvet Underground classic “White Light, White Heat.”

Notes on set II

Actually the second half of a single show, this recording begins with Bowie offering a compelling version of “Station To Station,” the title track from the 1976 album of the same name, to open the second set. From the moment he sings the initial line: “…the return of the thin white duke…” the crowd is all his – on their feet, and reveling in the homecoming. From there, things only escalate. He then launches into a powerful version of “Cracked Actor,” a tune from 1973’s Aladdin Sane, drawing a special roar from the audience when he delivers the controversial line “…suck baby suck, give me your head…” Leading a monumental, 10-piece band, he grooves through a collection of mostly hit songs that includes “Space Oddity” (his first hit single), “Young Americans” (his first dance hit), “Fame” (which he co-wrote with John Lennon) and a trio of all-out rockers: “Cat People,” “Putting Out Fire” and “Jean Genie.” This tour only featured one song from his legendary Ziggy Stardust LP, “Star” – but it’s a memorable one, nonetheless. Noticeably absent from the show was the usual Bowie show-stopper “Suffragette City,” but he more than makes up for it with what would have been, back then, a mix of classic and modern Bowie. Among the other highlights are a version of “Modern Love,” which kicks like a mule, and a spunky version of The Who classic “I Can’t Explain.” A must for all Bowie fans; proof that, no matter what the persona, the man could rock out with the best of them.