PETER GABRIEL
New York, Palladium
November 4, 1978

01.Intro Peter / Me And My Teddy Bear
02.On Presuming To Be Modern
03.On The Air
04.Moribund The Burgermeister
05.Perspective
06.Humdrum
07.Family Snapshot (very early version – first time live) aka Take On back
08.White Shadow
09.DIY
10.Waiting For The Big One
11.Mother Of Violence *
12.Slowburn *
13.I Don’t Remember
14.Exposure (With Robert Fripp)
15.Solsbury Hill
16.Modern Love
17.All Day And All Of The Night (With Robert Fripp)
18.The Lamb Lies Down On Broadway (With Robert Fripp)

TT 100:06

Timmy Capello – keyboards, piano
Peter Gabriel – vocals, piano & Rael leather jacket
Larry Fast – keyboards
Jerry Marotta – drums
Sid McGuinness – guitar & cigarette

The Band
1976-09-18
New York, NY – The Palladium

WNEW simulcast
offending track “forbidden fruit” to comply with DIME

robbie robertson
rick danko
garth hudson
levon helm
richard manuel
howard johnson
charlie keagle
tom malone
jerry hey

79:32

01.dj intro 1:17
02.ophelia 3:50
03.shape i’m in 4:17
04.it makes no difference 7:18
05.the weight 5:18
06.king harvest 3:59
07.twilight 3:52
08.night they drove ol dixie down 4:52
09.across the great divide 2:59
10.stagefright 4:45
11.acadian driftwood 7:06
12.the genetic method 4:20
13.chest fever 5:01
14.wheels on fire 4:35
15.dont do it 5:03
16.dj chatter 1:26
17.up on cripple creek 5:05
18.lifes a carnival 4:17
19.ws wolcott medicine show 3:32

fm master

Al Di Meola
Palladium (New York, NY)
Date May 5, 1978
Total Length 1:16:00

1 Intro01:37
2 Egyptian Danza05:19
3 Chasin’ The Voodoo04:54
4 Dark Eye Tango05:48
5 Short Tails Of The Black Forest07:36
6 Fantasia Suite For Two Guitars09:36
7 Captain Senor Mouse09:03
8 Midnight Tango07:49
9 Race With The Devil On The Spanish Highway09:49
10 The Wizard09:02
11 Chasin’ The Voodoo Reprise05:27

Liner Notes
Al Di Meola – guitar, vocals;
Steve Gadd – drums;
Anthony Jackson – bass;
Barry Miles – keyboards;
Mingo Lewis – percussion;
Eddie Colon – percussion

Scott Muni, acting as this show’s emcee, makes a reference to how the audience is about to hear some “real” music just before bringing on Al Di Meola and his solo band for an electrifying showcase of jazz-rock fusion. It is almost as if the announcer is promising the audience redemption for having had to endure corporate rock and disco. Remember, this was 1978 …

Di Meola, a Berklee School of Music graduate whose blistering guitar style married the best elements of rock and jazz, had just left Return to Forever, the groundbreaking fusion band that included Chic Corea on keyboards, Stanley Clarke on bass, and Lenny White on drums. During this time he was among the most celebrated jazz-rock musicians on the scene. Two years prior, while still in Return to Forever, Di Meola had released Land of the Midnight Sun; he followed it in 1977 with Elegant Gypsy, which went Gold in the US. The success was driven by FM radio stations, an unlikely benefactor given their begrudging support of jazz-fusion.

This show, recorded for the King Biscuit Flower Hour at New York’s Palladium Theater, features an all-star band that was assembled in order to record the 1978 album, Casino. With Steve Gadd on drums, Barry Miles on keyboards, bassist extraordinaire Anthony Jackson, and a percussion section including Mingo Lewis, these guys could really play, even if they hadn’t been working together for very long. For the set, Di Meola mixes material from his three solo albums, including Casino. “Chasin’ the Voodoo,” “Dark Eye Tango,” “Short Tails Of The Black Forest,” and “Fantasia Suite For Two Guitars,” are played with speed and precision, and the power of the Gadd/Jackson rhythm section is undeniable.

Things are thrown through a curve when Di Meola offers up a new arrangement of RTF bandmate Chick Corea’s jazz classic, “Captain Senór Mouse.” With most of the songs clocking in at five to ten minutes, Di Meola is eager to give his side players considerable space and time to solo and stretch out. Other highlights include “Midnight Tango” and the powerful “Race With The Devil On The Spanish Highway.” The band finishes its encore to a thunderous response from the crowd. Not knowing any other new material, the band performs a reprise of “Chasin’ the Voodoo.”

Di Meola has remained a jazz fusion superstar ever since, although he is focusing much more on acoustic music and more straightforward jazz leanings these days.

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

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

Taper: Lostbrook
Mastering: CQ
Artwork: ethiessen1

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

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

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

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