Pink Floyd San Diego 1971

 

Pink Floyd

San Diego

Oct 17 1971

Flac

VG+

Tracklist

1 Careful With That Axe, Eugene (12:59)

2 Fat Old Sun (15:37)

3 Atom Heart Mother (15:52)

4 The Embryo (11:41)

5 Set The Controls For The Heart Of The Sun (12:48)

6 Cymbaline (11:41)

7 Blues (5:40)

Download

RE-UP Jethro Tull 1973 Oakland, Dusseldorf, Frankfurt. New FLAC versions

A very kind viewer sent me three versions of some classic Tull from the 73 tour in FLAC . My previous posts were in MP3. Nice additions, thank you very much.

One Brown Mouse

A Hush In The Play

Artist: Jethro Tull

Title: A Hush In The Play

Date: July 23rd 1973

Venue: Colliseum Arena, Oakland, CA

Tracklisting

Disc One

- A Passion Play -

01. Lifebeats 08:57

02. Prelude 02:25

03. The Silver Chord 04:24

04. Re-Assuring Tune 01:14

05. Memory Bank 04:32

06. Best Friends 04:35

07. Critique Oblique 05:15

08. Forest Dance #1 01:15

09. The Story Of The Hare Who Lost His Spectacles 04:15

10. Forest Dance #2 01:43

11. The Foot Of Our Stairs 04:50

12. Overseer Overture 03:26

13. Flight From Lucifer 03:52

14. 10:08 From Paddington 01:06

15. Magus Perde 03:58

16. Epilogue 01:41

+

17. Thick As A Brick 17:07

18. Cross-Eyed Mary 04:09

Disc Two

01. No Rehearsal (segment) 02:12

02. Drum Solo (cut) 08:09

03. Instrumental 05:21

04. Maternity Ward 01:24

05. Aqualung 10:07

06. Band Introductions 01:35

07. Wind Up 13:05

08. Locomotive Breath 06:38

09. Wind Up Reprise 06:01

Personnel

Ian Anderson - Vocals, Guitar, Flute & Saxophone

Barriemore Barlow - Drums & Percussion

Martin Barre - Lead Guitars

John Evans - Keyboards

Jeffrey Hammond-Hammond - Bass Guitars

FLAC

Original Notes

And Now For Something Completely Different?

The year was 1972 and Jethro Tull was on a roll. “Aqualung” and “Thick As A Brick” had been very successful albums and the band was receiving the praise and attention that they deserved. The music press of yhe UK had been kind in their reviews and noted music journalist Chris Welch was even considered a good friend. So what was next? The Tull website describes it well.

“... work began in Switzerland (in August 1972), then studios in France (mostly to escape high British tax rates). Enough tracks to fill three sides of a double album were developed when technical problems in the studio, and band members' longing for home, caused all but four tracks to be scrapped (some of this material, like 'Skating Away On The Thin Ice Of A New Day,' would appear on 'War Child'). The dreadful experience lead Ian to dub the Chateau d'Herouville studio as the 'Chateau d'Isaster.' With only seventeen days left before the American tour, Ian wrote new material and vastly restructured some of the 'Chateau d'Isaster' ideas and the band recorded the 45-minute album, 'A Passion Play' ... Thematically, the concept album chronicles, as the title implies, a story of life and death, beginning with a recently deceased man viewing his own funeral, descending into purgatory and Hell, then reincarnated.” - J-Tull.com

This new album was tracked only as “part one” and “part two”, each taking up a full side of the original LP record. It was not until the 1998 release of the Gold Remaster version of 'A Passion Play” that the originally intended tracking of the show was known and used. From that listing, one can see that the only track to survive from the Chateau d'Herouville sessions and make it onto this album was the song “Critique Oblique”, though “Tiger Toon” was re-worked to produce the Passion Play's “Prelude”. The album was to rise to number one in the United States and number 13 in the UK, but not without a few bumps along the way.

The new tour with “A Passion Play” was supposed to begin on April 28th 1973 at the Wembley Empire Pool but this two-night booking was cancelled, despite sold out shows. Tull fans then looked to the start of the US tour for the first performance of the new material. On May 4th, the performance began in Evansville, Indiana with the opening “Lifebeats” but the accompanying film was not shown. Later in the show, the “Hare” film was shown out of context but broke down, as it did on May 30th in Toronto. The next night in Clemson, SC the equipment truck arrived late and so the soundcheck was performed in front of the audience. Since the show did not start until 10pm, “A Passion Play” was omitted from the set. The next night's show in Maryland was cancelled because the equipment truck broke down. Great confusion exists regarding the next 10 days in Tull history. Some claim that the band spent 4 days in Knoxville, TN rehearsing the new material, while others claim (with inconsistency) that Jethro Tull concerts were performed and attended. Finally, according to written account, “A Passion Play” was definitely performed in Hampton, VA on May 17th and Richmond, VA on May 18th.

After finishing the first leg of the American Tour, and in a move that defies logistical sanity, the band returned to the UK in June to play the two previously cancelled shows at the Empire Pool, June 22nd and 23rd, the only UK shows of the tour. As reported in Melody Maker on June 23rd, Tull's manager Terry Ellis admitted that all the proceeds from the two gigs would likely be used just to cover the cost of returning the equipment from the US and then flying it all back out again for the second leg of the American tour.

Once familiar with the material in the live setting, the band expected smooth sailing. “A Passion Play” was released in the UK on July 6th and was then released in the US on July 23rd, the day of this Oakland show. Audiences, who had understandably never heard the new material, seemed to receive it warmly. Sadly, the critics had other ideas. After playing three nights in Inglewood, CA (July 20-22), the Los Angeles Times printed these comments from Robert Hilburn:

“By the time Tull left the stage Sunday night, nearly 75,000 persons had paid upwards of $400,000 to see the British rock group ... I only hope they found the show more rewarding than I did. There were, to be sure, moments of high style and imagination, particularly in the use of film, but there were also some moments of extremely tedious music. While the group's stage antics at that time - highlighted by Anderson's flitting around like a wild-eyed, super-charged Captain Hook gone mad - and fire-breathing instrumental arrangements dominated by a sort of huff-and-puff flute sound - were among the most colorful in rock, there was a lack of strong, central focus to Anderson's lyrics that kept the group's music from realizing its full potential.

Things did, however, begin impressively at the Forum. Following a spirited set by Steeleye Span (a British group which has effectively merged traditional folk with modern electronics), the Tull portion of the evening began when a small white dot appeared on a movie screen at the rear of the stage. The dot flashed off and on in time with an amplified heartbeat. Slowly, the dot grew larger and larger. After several minutes it turned red, and a ballerina joined it on screen. At first, the dancer was lying motionless on her back. Slowly coming alive, she eventually leaped through a mirror in what was a stunning piece of film. At that instant, the screen was raised and the group came on stage to begin A Passion Play, a chiefly instrumental work that alternates, in typical Tull fashion, between gentle moments and sudden, dramatic bursts of power.

While it holds your attention for a while, its instrumental repetition and its un-arresting, inaccessible lyrics eventually undercut its impact. After 20 minutes, mercifully, the group gave way to another engaging Anderson film (The Hare). After the film, the group returned with another numbing 20 minutes of A Passion Play and then 15 minutes of Thick As A Brick. It then moved into some of the better known tunes from Aqualung. If there was ever any question about the rambling, disjointed nature of Anderson's longer works, the placement of these punchier, crisper, more concise pieces from Aqualung on the same show answered it. Anderson remains a talented, serious, imaginative artist, but his extended works need more easily identifiable, engaging themes and varied musical elements if they are to be worthy of the attention he wants for them.” R. Hilburn 24th July 1973

Chris Welch, attending the Empire Pool shows, describes other aspects of the show and adds his own commentary:

“... one and a half hours solid good music by Jethro Tull at the Empire Pool, Wembley, would have been sufficient to send home many more contented fans. Instead, an over-long over-produced marathon seriously impaired their impact - and their reputation ... The Passion Play which constituted the first part of the concert, and is the basis of their next album, was a disappointment ... (yet) Ian played soprano sax with a bug attachment, with considerable facility, which added a new tonal dimension to the band sound. Jeffery Hammond-Hammond their bass player charged around the stage in a suit and Panama hat, in a kind of Monty Python-ish silly walk that seemed a parody of the natural movements of a musician inspired by his music.

The piece continued unabated, and bearing in mind we haven't heard the album yet, seemed to take a considerable time to show any signs of cohesion. The structure had a kind of Elizabethan mode, with a plethora of changes that did not resolve into any satisfying or logical direction ... the lyrics or story of the Passion Play did not communicate one whit ... part of the play was taken up with a film (The Hare), filmed in colour featuring members of the group and a ballet company. This fell flat at first, greeted with yells of 'No substitute,' with which I was bound to agree, although a colleague who thought the whole show terrible, said the film was the best part, which at least shows how opinions can differ ...” C. Welch, Melody Maker 30th June 1973

Ian Anderson was not too pleased with the reviews of the new Tull material. There were even rumors of a plan to halt the tour and disband Jethro Tull permanently. Fortunately for Tull fans the band has continued well into the 21st century. Most serious Jethro Tull fans have a strong opinion of “A Passion Play”, either positive or negative but all will agree that it was a unique experience in the history of the band.

Now let's move on to this recording; July 23rd, 1973 in Oakland, California. The show is from the master tape and is almost complete. Sadly, only a segment of the song “No Rehearsal” was present and was tracked separately. This is a song created during the Chateau d'Herouville sessions which was played during live performances in 1973. The drum solo is also cut at the beginning and we chose not to patch it. At the beginning of the recording we have tracked the entire Passion Play using the originally intended listing provided by the band. Towards the end, if you listen closely to the extended instrumental section of “Wind-up” you will hear segments that clearly become “Minstrel in the Gallery” later on in 1975. Finally, Anderson ends the show with the ringing telephone which was a metaphor for the time.

PRRP Staff

Notes from the Re-Master

We began with a FLAC encoded, digitised copy of the master tape. With the first listen it was clear that the hiss level was excessive and reduced appreciation of the subtle aspects of the show. There were also many microphone bumps that needed to be removed or reduced as much as possible along with other clicks and pops. The complete show is here except for a truncated “No Rehearsal” and the incomplete beginning of the drum solo. We chose to leave those segments un-altered rather than patching them from another source. For a 1973 audience recording this is quite good quality. Still, the frequency response drops significantly above 7,500Hz. Tonality needed adjustment given midrange excesses and excessive high-bass frequencies. Because auto-record-level circuits were in play, there were a number of partial dropouts found requiring repair. There were other single channel partial dropouts that also needed repair.

The original master tracked the Passion Play section as a single track. We added tracking to reflect the full tracking intended by Jethro Tull at the time. We also adjusted other track points. Finally, analysis showed that speed correction was needed and was applied to the whole show.

Disc 1

Disc 2

JETHRO TULL

March 26, 1973
Dusseldorf, Germany

FLAC

Original Notes
This is more complete (11 minutes longer)
and
MUCH better sounding than my previous seed of this show.

THANKS MUCHO to JackStraw42 for reminding me that he had sent me an upgrade.

I've generated new md5 and fingerprint files
Included is the original info file that JackStraw42 sent me.
I've included another info file with a bit more detail.
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Similar musically to the other February and March shows in Germany
that is...
very nice.
I love the shows from this tour.

----------------------------------------------------

THE BAND:

Ian Anderson - flute, guitar, and sings
Martin Barre - guitars
John Evan - keyboards
Barrie Barlow - percussion
Jeffrey Hammond - bass, voice

--------------------------

THE SONGS

You know, these complete Bricks are just incredible.
It's really a shame that no
Soundboard recordings exist of any live performance of the 70+ minute long Thick as a Brick.
John's organ solos are fantastic.The little bits of compositions in the "improv" sections are neat.
The whole danged thing is just mind-blowing. If you don't have any of the long Brick that they performed from March 1972 - May 1973 get some.You won't be disappointed.
This one is really good, but the sound quality ain't that hot.
I prefer higher quality sound and later in the tour, after June 1972, though
the really early ones are interesting too.



01 Thick as a Brick Pt. 1  76:18
     -includes Organ and Flute Solo,
     Quartet, God Rest Ye Merry Gents,
     News and Weather (CUT - only a very brief fragment is present - in English)
02 Cross-Eyed Mary and Left Right and Audition  9:53
03 Aqualung  7:28
04 Wind Up  and No Rehearsal and Guitar Solo 24:54
05 Locomotive Breath 9:37
06 Wind Up 2:44

 TOTAL TIME 2 hours, 11 minutes

--------------------------

THE SOUND:
not bad at all

MUCH BETTER and MORE COMPLETE
than my previously seeded version

THE LINEAGE:
audience > unknown > to me as FLAC files (many thanks to JackStraw42) >
to you

--------------------------

THE PERFORMANCE:

Another GREAT performance.
The folks in Germany were treated to many
special Tull shows.
The band was always a little better, took more risks, in Germany
I think.
So was Frank Zappa.

------------------------------------

HEY GANG:
I offer what I have, with ALL the information known to me.
If you've got a
better version, seed it.
If you have more accurate information, please add it in a
comment.
If anyone would like to attempt a remastering job, go right ahead.

Let's try and keep it positive and make DIME as good an experience for all as possible.

thirduncle

Download Dusseldorf



JETHRO TULL

February 2, 1973
Frankfurt, Germany
Festhalle

FLAC

Original Notes
The sound isn't great, but this is a musically unique recording.
See "The Performance"
below for more details.

Going through my cassettes looking for something interesting
to seed I stumbled on this.Since I've had this tape for at least 15 years I naturally
assumed that it was widely circulated  amongst traders.It probably is.I checked at the
Ministry-of-Information (http://www.ministry-of-information.co.uk/setlist/73.htm),
and it's listed, but no set list.It's not here on DIME.
Maybe it is not as common as I thought.
hmmmm...

Well, here it is for you.

--------------------------

THE BAND:
Ian Anderson - flute, guitar, and sings
Martin Barre - guitars
John Evan - keyboards
Barrie Barlow - percussion
Jeffrey Hammond - bass, voice
??? - German speaker (may be a band member, may be
someone else)

--------------------------

THE SONGS
01 Applause and intro 1:08
02 Thick as a Brick Pt. 1  w/ ("Ian is Playing..." in German) 46:04
      - - - includes the
     Flute Solo ,God Rest Ye Merry Gents,Bouree,  and Quartet - which they
     actually play
03 News and Weather (auf Deutsch) 3:37
04 Drum Solo 15:09
05 Thick as a Brick Pt. 2 8:44
06 applause 1:23
07 talk 1:09
08 Cross-Eyed Mary 3:12
09 Left Right 3:34
10 Audition 2:47
11 Aqualung 7:26
12 applause 3:31
13 talk and band intros 2:05
14 Wind Up 12:49
15 No Rehearsal 1:49
16 Guitar Solo 6:26
17 Locomotive Breath 9:49
18 Wind Up  2:44

TOTAL TIME 2 hours, 13 minutes, 16 seconds

--------------------------

THE SOUND:
Yet another, as if it were a surprise, GMR thats's a Genuine Monophonic Recording
 It's centered it's Mono-rific

An audience recording
Only OK sound.
There are much better ones and much worse ones out there.


THE LINEAGE:
audience > to me on cassette (unknown number of generations from Master) >
 Nakamichi BX-2 with azimuth adjustment done for playback > digitize with audacity >
FLAC 8 via xAct

Not my usual "raw" transfer
Side 2 of the tape had a significantly lower
 volume than side 1.
I boosted it to get pretty close to that of side 1.
No noise
reduction or EQ was done.

--------------------------

THE PERFORMANCE:

This is a really interesting concert.
Back in the day Tull seemed to play more freely and take more chances in Germany than they did in the UK or the USA.They just seem to be more willing to try new things with a German audience.
This is evident here and in the next several from Spring 1973 that I'll post later.
Many thanks to the good German people who taped these shows in Deutschland all those years ago.
And there must have been many people doing it because there are LOTS of tapes from LOTS of different German cities over the years. Thanks for taping all the Zappa shows too.


1 - The Flute solo in Thick as a Brick
includes the rarely played Quartet.
This is, I think, the earliest played version of this
I have.They did continue to play it when they returned to Germany in March 1973.
It makes me wonder why Quartet was included as a bonus track on the WarChild CD and not on
the Chateau D'isaster or Passion Play CDs as they were clearly playing it live in 1973 and NOT in 1974/75 during the WarChild tour. They did use a recorded version of it as intro music periodically during that tour.

2 - The "Ian is playing a rhythmic link
sequence" is spoken in German

3 - The "News and Weather" is in German.

4 - No Rehearsal is in the middle of Wind Up

5 - The medley of Wind Up, No Rehearsal, Guitar Solo, and Locomotive Breath is INCREDIBLE.
Altogether it's about 33 minutes long!Parts of it will be familiar, some are strikingly unfamiliar.
It is pretty unique in the live Tull I've heard

This was one of only two shows Tull performed in February of 1973, the other being
in Zurich.The band returned to Germany a month later when the real tour began.Was this
a warm-up gig, a one-off? It sounds to me like they were trying out a bunch of new-ish
stuff and how best to present it.I don't know.
But here it is for your enjoyment.

By the way, the stuff spoken in German -  Does anyone know who it is?

The only other time I know of the band speaking at any length in a language other than English was later next month (March 1973) on the Italian leg of the tour. Then, the News and Weather is in
Italian.Heck, when they returned to Germany in March they spoke only in English.
This makes me think the German speaker was NOT a band member, but maybe a German celebrity,
or DJ, or something.Does anyone know for sure? Of course there may be other instances of
other languages being spoken in concert.
Anybody know?

------------------------------------

HEY GANG:
I offer what I have, with ALL the information known to me.
If you've got a better version, seed it.
If you have more accurate information, please add it in a comment.
If anyone would like to attempt a remastering job, go right ahead.
Let's try and keep it
positive and make DIME as good an experience for all as possible.

thirduncle

Download Frankfurt

Pink Floyd Los Angeles Sports Arena, Los Angeles, CA 1975-04-26

 Pink Floyd 

Los Angeles Sports Arena, Los Angeles, CA 

1975-04-26

aud  (Millard)

mp3 @ 320 [327 mb]

sq: EX

Cruel But Fair (Harvested)

artwork included

CD1

01 Raving And Drooling (Sheep)

02 Gotta Be Crazy

03 Shine On 1-5

04 Have A Cigar

05 Shine On 6-9

CD2

06 Speak To Me

07 Breathe

08 On The Run

09 Time

10 The Great Gig In The Sky

11 Money

12 Us And Them

13 Any Colour You Like

14 Brain Damage

15 Eclipse

16 Echoes

tt: 2:22:51

Download

Pink Floyd Earl's Court, London 1973-05-19

 Pink Floyd

Earl's Court, London

1973-05-19

aud

mp3 @ 320 [302 mb]

sq: A+

Supine In The Sunshine (Rev. A) (Harvested)

artwork included

CD1

01 Obscured By Clouds

02 When You're In

03 Set the Controls For The Heart Of The Sun

04 Careful With That Axe, Eugene

05 Echoes

                                                                                          

CD2

06 Speak To Me

07 Breathe

08 On The Run

09 Time - Breathe Reprise

10 The Great Gig In The Sky

11 Money

12 Us And Them

13 Any Colour You Like

14 Brain Damage

15 Eclipse

16 One Of These Days

tt: 2:09:46

Download

Pink Floyd Oakland Coliseum, Oakland, CA, US 1977-05-07

 

 

Pink Floyd

Oakland Coliseum, Oakland, CA, US

1977-05-07

aud

mp3 @ 256 [255 mb]

sq: EX

Animal Instincts Rev B (Harvested)

artwork included

CD1

01 Sheep

02 Pigs On The Wing (part 1)                                         

03 Dogs

04 Pigs On The Wing (part 2)

05 Pigs (Three Different Ones)

06 Shine On You Crazy Diamond (parts 1-5)

07 Welcome To The Machine

CD2

08 Have A Cigar

09 Wish You Were Here

10 Shine On You Crazy Diamond (parts 6-9)

11 Money

12 Us And Them

13 Careful With That Axe, Eugene

tt: 2:16:07

Download

Pink Floyd Empire Pool, Wembley, London, England 1974-11-16

 

Pink Floyd

Empire Pool, Wembley, London, England

1974-11-16

pre-fm (Digitally Restored, Remastered, Re-Edited and Packaged by The Swingin'Pig)

mp3 @ 320 [181 mb]

sq: EX+

The Dark Side Of The Moon Live - 30th Anniversary Edition (The Swingin'Pig)

artwork included

01 Speak To Me

02 Breathe 

03 On The Run 

04 Time 

05 The Great Gig In The Sky

06 Money 

07 Us And Them

08 Any Colour You Like 

09 Brain Damage

10 Eclipse

11 Tune Up 

12 Echoes

tt: 1:19:09

Download

Pink Floyd Montreux Casino, Montreux, Switzerland 1971-09-18

 

Pink Floyd

Montreux Casino, Montreux, Switzerland

1971-09-18

sbd

mp3 @ 320 [261 mb]

sq: EX

Remember The Lesson Of Giving

artwork included

01 Echoes 

02 Careful With That Axe, Eugene 

03 Set The Controls For The Heart Of The Sun 

04 Cymbaline 

05 Atom Heart Mother 

06 A Saucerful Of Secrets 

tt: 1:53:31

Download

Pink Floyd 1970 Electric Factory, Philadelphia, PA

 

Pink Floyd

Electric Factory, Philadelphia, PA

1970-09-26

sbd

mp3 @ 320 [238 mb]

sq: EX

Electric Factory (Harvested)

artwork included

CD1

01 Astronomy Domine

02 Cymbaline

03 A Saucerful Of Secrets

CD2

04 Interstellar Overdrive

05 Fat Old Sun

06 Green Is The Colour

07 Careful With That Axe Eugene

08 Set The Controls For The Heart Of The Sun

tt: 1:43:35 

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RE-UP Bob Dylan - Hollow Horn - Looking For The Saviour 1966

Bob Dylan-Hollow Horn-(Performing Artist Series-Vol 7)-Looking For The Saviour.

MP3 320
VG+/EX

This is the last and final instalment from the Hollow Horn Performance Artist series.Most of you will already own some of this material,if not all.This material is featured on the genuine live '66 set from Scorpio although I am not sure if the sources are the same.Hollow Horn have taken the best bits of the 1966 World Tour of Australia and England to make a good ending to a quality set of volumes.The quality produced by Hollow Horn is as always top notch.I hope very much you have enjoyed this collection of volumes as much as I have had the pleasure of lending them to you.

Looking For The Saviour.

Cd-1.
World Tour Australia 1966.
Sydney Stadium, 13th April (outro 05), 6-13.
Melbourne, Festival Hall, 20th April, 1-5.

01-Fourth time around.
mother revisited.....
02-Visions of Johanna.
03-It’s all over now, baby blue.
04-Desolation Row
05-Just like a woman.
...back in 5 minutes
06-Tell me momma.
it used to go like that....
07-I don’t believe you.
08-Baby let me follow you down.
09-Just like Tom Thumb’s blues.
10-Leopard-skin pill-box hat.
11-One too many mornings.
12-Ballad of a thin man.
13-Positively 4th street.

Cd-2.
World Tour England.
Birmingham, Odeon Theatre, 12th May, 12.
Liverpool, Odeon Theatre, 14th May, 7,8,9,10,intro 12.
Sheffield,Gaumont Theatre, 16th May, 1,4,5,6,11.
London,Royal Albert Hall, 26th May, 2,3,13.
London,Royal Albert Hall, 27th May, intro 3.

01-She belongs to me.
02-Fourth time around.
I don't write drug songs..
03-Visions of Johanna.
04-It’s all over now, baby blue.
05-Just like a woman.
06 Mr Tambourine Man.
07 Tell me momma.
now it goes like this..
08-I don't believe you.
09-Baby, let me follow you down.
I was a baby once...
10-Just like Tom Thumb’s blues.
11-One too many mornings.
looking for the saviour...
12-Ballad of a thin man.
13-Like a rolling stone.

Download

RE-UP Bob Dylan - Odds & Ends 62-85

BOB DYLAN - Odds & Ends (1962-1985 outtakes & miscellaneous)

SOURCE: Studio & Audience

01. Whatcha Gonna Do
- The Freewheelin' Bob Dylan outtake, April 1962 
02. Sally Gal
- The Freewheelin' Bob Dylan outtake, April 1962 
03. Ramblin' Down Through The World
- 1963-04-12 Town Hall, New York, NY
04. You've Been Hidin' Too Long
- 1963-04-12 Town Hall, New York, NY
05. Suze (The Cough Song) [longer version]
- The Times They Are A-Changin’ outtake
06. You Don't Have To Do That
- Bringing It All Back Home outtake 1965-01-13
07. Jet Pilot
- October 1965 CBS Studio, New York, NY with The Band 
08. Working On A Guru
- 1970-05-01 CBS Studio B, New York, NY with George Harrison 
09. Let Me See
- early 1980s work tape 
10. Lily, Rosemary, and The Jack Of Hearts
- Blood On The Tracks test pressing 
11. Nuggets Of Rain (with Bette Midler)
- Songs For The New Depression outtake 
12. Hurricane
- 1975-07-30 original version & lyrics
13. Am I Your Stepchild?
- 1978-11-13 Oakland, CA publishing demo 
14. Seven Days
- 1976-04-21 Tampa, FL publishing demo 
15. Yonder Comes Sin
- October 1980 Rundown Studios publishing demo 
16. Mystery Train
- Shot Of Love outtake, April/May 1981 Clover, Los Angeles, CA 
17. Watered Down Love [with extra verse]
- Shot Of Love outtake, April/May 1981 Clover, Los Angeles, CA 
18. Honey Wait
- July 1985 Intergalactic Studio, New York, NY
19. That's Alright Mama
- The Freewheelin' Bob Dylan outtake

Download

RE-UP Steve Miller - Ultrasonic Studio NY

Steve Miller

Ultrasonic Studios New York (tracks 1-9)

1972

MP3 320

EX

Download

RE-UP Free - Berkshire 1972

Free
Bracknell Sports Centre
Berkshire, England
Oct 14, 1972

MP3 320
VG+

*Original Notes
Totally opposed to the Coatham show disaster (listen at your own risk), this live show 2 days later is quite a winner with a Koss back in
*(I mean guitaristically) and a band proposing a new Free style that would give their fabulous Heartbreaker album some months later (they were in studio rehearsals at the time of this concert). It is to remembered that 2 songs from their
future new LP ("Heartbreaker" and "Seven Angels") were composed by Paul Rodgers for Peace 2 years before (if someone has a recorded testimony for that, I'm a taker). Actually, this band was more or less his own now that Andy Fraser was gone and Paul Kossoff was in or out according to his mental state (and the negative action drugs did in it). But the important is that in this show, after the wreck of the previous night, the band is in rather in form, Kossoff remembers how to play the songs and even take some nice solos, and the recorded quality is good enough to be something one can listen too like a normal album (don't expect an official LP quality one but it's not the shit 95% of bootlegs propose). I'm not sure the setlist is the best they could do ("I'm On The Run" composed and sung by Rabbit is a nonsense in a Free set and comes much too soon in the concert, the blues one could be OK for a closer but has nothing to do in the middle of the set) but this was their choice. In conclusion, I really think this one is one to enjoy the listen.

*I love that!

Download

RE-UP Free - UK singles A and B sides

Best of compilation assembled by a fan. A nice collection of Free selections.
Assembled sources.
A+

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RE-UP Free - Sunderland 1970

Free
Sunderland Locarno
North Fillmore
Jan 1970

MP3 320
EX

*Original Notes
In January 1970, 4 months before they became superstars with "All Right Now",
Free was a band with a strong following, but considered a serious and respect
able heavy blues à-la-Cream band, not a pop one. All that will contribute to
their considerable success is here, ready to explode, so idiosyncrasic, so
palatable, so unique. This concert was apparently splitted in 2 sets, with
"All Right Now", not released in single as I said above, played twice, in 2
very different versions. It was a sign that the song was to become something
since the audience requested it again. But there are so many gems here (and
songs that would disappear from their live setlists soon after, although they
were prime cuts for the stage) that it would be totally absurd to reduce
Free to this song, not played at its best in this concert. This concert would
provide 2 years later 2 tracks of their posthumous Live album (before the
reformation): the 1st version of "All Right Now" (on the vinyl you could hear
the end of a T. Rex song ("Ride A White Swan") but no more on CD, too sad)
although the second is much more energy-fueled and the audience goes crazy,
and "The Hunter" in a devastating version. The other songs would be taken
from a later concert that I'll post here also in its more complete version,
but not too soon, you need time to appreciate each one. However, Paul Kossoff
is here in great form and take some incredible solo (listen to the one in
"Songs Of Yesterday" for example, and the amazing one on "Moonshine", that he
co-wrote, the greatest economist in notes who ever played guitar). What's
fabulous in this band, it's that they are strong enough to propose such a
doom blues track like "Moonshine" that is surely the cradle of depressing rock
It's crazy the Island bosses didn't put it on the Live album, it would have
became a classic to place near "Since I've Been Loving You". And the emotion
is otherwise more striking that in Led Zeppelin. But no more bullshiting with
words and let's the music talks here.

PS.
Sorry, I did a mistake. "Trouble on Double Time" follows "Moonshine".
But too late to change. Change the order yourself if you want to respect the
order of the setlist.

PPS.
The sound is excellent.

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RE-UP Procol Harum - Juicy John Peel BBC 1970

Procol Harum

Live at the BBC 1970

Flac

VG/VG+

01 - Still There'll Be More

02 - Wish Me Well

03 - About To Die

04 - A Christmas Camel

05 - Your Own Choice

06 - The Devil Came From Kansas

07 - Juicy John Pink

08 - Well I

09 - Nothing That I Didn't Know

10 - A Salty Dog

11 - Whisky Train

12 - Whaling Stories

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RE-UP Procol Harum - New York A&R Studios 1971

Procol Harum
A&R Studios NYC
April 12 1971

MP3 192
VG+
Live in the Studio

A great sounding concert from 1971. Recorded at A&R Studios in New York and broadcast over WPLJ-FM in New York on April 12, 1971. Procol Harum during their Broken Barricades period.
A memorable concert during a particularly great period of the band and if you aren't familiar with them, or only know them from Whiter Shade of Pale, now's a great chance to hear what the fuss was all about.

Gordonskene 

Enjoy.


Track List:

01 Memorial Drive 3:47
02 Still There'll be More 5:21
03 Nothing That I Didn't Know 3:41
04 Simple Sister 3:44
05 Luskus Delph 3:42
06 Shine On Brightly 5:45
07 Whaling Stories 8:56
08 Broken Barricades 2:58
09 Juicy John Pink 4:03
10 A Salty Dog 4:49
11 Whisky Train 5:29
12 Power Failure 4:30

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RE-UP (Procol Harum)

MP3 320

JOHN DENTON, a rock'n'roll pianist from Southend, recalls his experiences following The Paramounts in the early 1960s:

"I first saw The Paramounts in 1962 in a low-key hop in a Leigh-on-Sea community hall. At this time, most groups in the Southend area were playing the songs from the current hit parade as required in the local dance halls. However, this group was not churning out Bobby Vee or Shadows tunes; I was to hear strange songs about 'Peanut Butter' and about 'Three Cool Cats' intermingled with familiar, but unfashionable rockers gleaned from records by Jerry Lee Lewis and Little Richard. The group's line-up comprised the regular lead guitar, bass, and drums; but instead of the usual rhythm guitar, the vocalist was utilising the hall's old piano, a mike thrust into the top. Even more unusual was the small gathering of unofficial 'backing vocalists' clustered around the stage. Their chants were lending response to those opening shouts of the US Bonds song 'New Orleans'; their unison of wails constituted the chorus of that incredible song about 'Peanut Butter'. On asking one of the choristers about the band, I was informed that The Paramounts were resident at The Shades Cellar Club on Sunday nights."

GARY BROOKER reminisces: "While still at school, I was in The Coasters with Johnny Short, and Brian Gill. Johnny Short was a master of the guitar, an absolute miracle worker! He could play a whole Carl Perkins record on guitar. He'd get the bass part, the rhythm, the lead, and the essence of the drum part as well. We played mainly instrumentals, and named ourselves after the US group The Coasters. I remember setting my piano on fire one night at Leigh Yacht Club. I left a cigarette on the end, and the celluloid on the keys caught fire and flared. The flames got up to A below middle C before I poured a pint over it!"

"The Paramounts formed after a band contest at the Palace Hotel Dance Hall in Southend. At this contest, The Coasters competed with other local groups Micky Law And The Outlaws, The Raiders, Bob Scott And The Clansmen etc. Micky Law won the contest, and The Coasters came a close second, but this result was controversial because some people thought that Micky Law had fixed the votes, which were counted on slips of paper. Maybe Micky Law had more pencils than anybody else. The man who ran the contest was Peter Martin, a local entrepreneur. That night he conceived the idea of putting together a 'supergroup' from the cream of local musicians. He named the group The Paramounts, and later became their manager."

"It appears that Peter Martin put the group together by dubious means. He'd already got Robin Trower and Chris Copping from The Raiders, Mick Brownlee on drums from The Outlaws, and Bob Scott on lead vocals. They wanted me on piano. Peter Martin got Rob to phone me and ask me if I could come to a rehearsal one Sunday, just to sit in and help out. I told him that The Coasters were playing that night. Rob said 'I've spoken to Johnny Short, it's O.K.' So I went to The Paramounts rehearsal, and the same thing occurred every Sunday for a month. Johnny Short assumed I no longer wanted to be in The Coasters, as I'd been missing rehearsals, I thought Johnny Short no longer wanted me, and suddenly I was a Paramount."

"At The Paramounts rehearsals, it was mainly Carl Perkins numbers, and a few Cliff Richards. We did a lot of shows with Bob Scott singing lead, and our repertoire was dependent on what he wanted to sing, mainly Elvis and Rick Nelson. Bob failed to turn up to a gig one night, and the others said 'you sing'. I knew a lot of songs by Little Richard, Fats Domino, Chuck Berry etc. A guy called Sid was the local Chuck Berry man. He had a new Chuck Berry record the moment it was released. I would go to his house on the Friday night, he would already have the words written down, and we'd learn the song."

"So I became the singer in The Paramounts, and we were all still at school. On leaving school, I went to Southend Municipal College to study zoology and botany. Robin worked with his brother cleaning windows. Mick Brownlee became a bricklayer, and Chris Copping stayed on at school to take his A-levels. It was around this time that Rob's dad bought The Penguin Cafe on Southend seafront, after The Penguin Cancer Scandal. The cafe's previous proprietor had been caught pocketing money from his Cancer Relief charity collection boxes. There were cellars below The Penguin Cafe, full of plastic penguins. It occurred to the Paramounts that this would be a good place to build a club, so we set about burning the penguins, painting the cellar, and building a stage. We bought a piano for 4 pounds, and opened up a month later, late in 1961, with a Sunday night show featuring The Paramounts. We called the club The Shades, after Johnny Harris And The Shades, a Southall group, who had recently made several impressive appearances in Southend. Shades was also a 'new word' for sunglasses."

JOHN DENTON: "Early Sunday evening found me venturing past the arcades and stalls of Southend's famed Golden Mile, along the seafront road, towards Shoebury Garrison. I was soon to arrive at The Shades, which was one of several coffee bars then in vogue in Southend. The cellar club was run by the genial Len Trower. It cost me a shilling to descend into the dimly-lit cavernous room, formed of two dark areas fronted by a small dancing space and low stage. Behind the stage, a zany mural depicted The Paramounts' cartoon replicas. In the two back chambers, one could perceive youths sipping cola, while girls danced effortlessly to the juke box sound of 'Thumbin' A Ride'. The dance area was to fill as The Paramounts plugged in and commenced to rock. Egg boxers bedecked the ceiling, serving as primitive sound-proofing; the cluster of 'backing vocalist' fans was so effective in this environment despite the throbbing sound; the people around the stage were executing what would be termed The Pogo some fifteen years later. This was the most exciting music I'd ever heard."

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RE-UP Procol Harum - Edmonton Symphony Orchestra 1971

A little more fan based stuff, from a procol nut again.

*Original Notes
This post is justified by the release, this month, of a new edition of the Procol Harum Live with Edmonton Symphony Orchestra, first released in April 1972 and received by the press as a complete masterpiece. The attempt to mix a symphonic orchestra with rock music had been tried before but honestly, this was a joke compared to this fantastic fusion that one can listen to here. The album scored very well and fans might have though that the time for Procol Harum had finally come. That would not be true actually and the further years would not be marked by the triumph that this band deserved. Procol Harum is, since 1972, I was still a kid, one of my 5 fave groups of all the times and time has not attenuated my admiration for the Brooker - Reid duo (more important to me than the other more famous duos in rock), and also for my fave drummer of all times, I mean Barrie J Wilson, this album being maybe the one in which everyone can see why some of us place this musician at the top of their drumming pyramid. There was a single drawn out of the LP. "Conquistador" was chosen as A-side, and this revealed to be a good idea since the song reached n°22 in UK and n°16 in US. In UK, the B-side was a song that did not feature in the LP, an orchestral version of the delicate and sexually explicit "Luskus Delph". This is here what I call the forgotten song. In the US, they had decided to put "Salty Dog" and this surely contributed to the success of the single, being occupied by 2 of the most Procol Harum songs (and both des chefs d'oeuvres"). But, in bonus, I add the 2 songs that made it at the rehearsals but not at the show: "Simple Sister" and "Shine On Brightly". Both are actually not totally satisfying, in particular "Simple Sister", first because it is much shorter than the original one (that you can find in Broken Barricades), and second because the orchestra is not well integrated to the song. That will be corrected for the next orchestral evenings that the bands would play in the 2 following years such as with the Los Angeles Symphony Orchestra in August 1973 (a bootleg with a superb sound I'll post later on). So, here it is, one of the most magical band of the world in one of the most ambitious record of the last century. It could have been recorded yesterday. Enjoy this fake EP here, and then buy if you can the Salvo LP wherever you find it not too much expensive.

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RE-UP Procol Harum - Danish TV 1974

MP3 320
VG+

* Original (sad) post
... Here the promised Procol Harum post from the Danish TV show captured in November 1974, 4 months after the Dallas radio show previously phere). Here we find the band in a stunning form. Actually, I think 1974 was THE year for PH. There was a sort of exhilaration in their way to play, and Gary Brooker wording during the instrumental parts was particularily jubilatory. And BJ Wilson was THE boss but this you all knew already. Enjoy this formidable document here (added on the CD reissue of the Hollywood Bowl show and on the DVD version of 2006 Danish show with orchestra, but not on the CD). And below some videos from the TV show found on youtube. The cover sleeve was again taken from a Masaki Yada painting, whose universe fits well with PH one (at least for me).

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RE-UP Procol Harum - London 1974

MP3 320
VG+

*Original Notes
One month before the official release of Exotic Birds And Fruits, Procol Harum plays a show in London (at the Hippodrome Golders Green) intended to be broadcasted on the BBC, this the same month that John Peel would have them for a Peel Session. It seemed that the big time was here for the band, quite a surprise in the UK where Procol Harum had never succeeded to impose his singular approach of music. But the future will show that it was only a mirage and that the rest of the year will not see any triumph. It must be remembered what a particular year is 1974, with glam rock reaching its peak, occulting quite everything else except progressive rock. However, the band is here in its best formation to my ears, and their set is strong (as Samson) and precious (as Delilah). On the 11 songs featuring in this record, only 9 would be broadcasted (the reason 2 have quite bad sound mix since the master is lost). This was released by the BBC only in 1999, after several bootlegs, with weak but not so bad quality, were to be found on the market. But the sleeve of the Strange Fruit recording (funny coincidence that the label of the BBC recording was called as this) was totally crappy. Since 6 among the 11 tracks were a teasing of the Exotic Birds And Fruits album, I thought it was a good idea to give this name to the LP. I chose a painting from the same artist than the original Exotic Birds And Fruits album, Jacob Bogdani, a Hungarian painter born in 1660 and who lived and died (in 1724) in London (go here if you want to see his work). I included the complete painting in the rar file. About the music now. The concert is an opportunity to understand that the band had decided to leave its symphonic and its melancholic sides behind, and was much more in a social rock period targetting most of people having the power on others lives (conquistadors, men of power and money on "As Strong As Samson" and "Nothing But The Truth", Label directors on "Butterfly Boys", idol makers on "The Idol"...). BJ Wilson is shining throughout the concert but it's now tautologic to write this since this drummer is solar. The other great man of the show is Mick Grabham who surely has been the best guitarist of the band throughout his history, and whose Gibson sound is totally my taste (this thick sound that had been the Guy Stevens mark between 1968 and 1972). But I talk too much. Enjoy this show here, it's a splendid addition to the ones posted lately, and some others will come.


A fucking good surprise to have discovered this late London concert, not far from the end of the band. I don't want to put too many live recordings on this blog but for my fave bands and if the sound quality is good enough (a pre-requisite), I find interesting to offer some of them. And although my memory of a concert seen in Paris during the same tour, left me a very bad impression (I quitted before the end of the set), I didn't find on this recording what annoyed me, the band playing wonderfully. Moreover, the live version of the 2 tracks of the very bad Something Magic album, fit totally well.

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