Excellent audience recording
MP3 320
Download
Wednesday, September 30, 2020
RE-UP The Who - From Lifehouse to Leeds
The Who
From Lifehouse to Leeds
Silver CD Source: SIAE (TW-OR-9)
1. Pure And Easy 4:29
2. Won't Get Fooled Again 9:01
3. Love Ain't For Keeping 4:07
4. Behind Blue Eyes 3:39
5. Baby Don't Do It 8:41
6. Getting In Tune 7:12
7. Young Man Blues 5:25
8. Happy Jack 2:15
9. I'm A Boy 2:46
10. Shakin' All Over With Spoonful 5:14
Comments from the web:
Early Who versions recorded at the Record Plant,
New York for the aborted Lifehouse project, which then became the material for
the Who's Next LP. For those of you who might have wondered how PT's lead style
got so mean sounding on Won't Get Fooled Again, that's Leslie West (from Moun-
tain) playing lead on this version.
Enjoy
Download
RE-UP The Who Lifehouse ( another soniclovenoize reconstruction)
The Who – Lifehouse
(soniclovenoize reconstruction)
FLAC
Side A:
1. Teenage Wasteland
2. Going Mobile
3. Baba O’Riley
4. Time is Passing
5. Love Ain’t For Keeping
Side B:
6. Bargain
7. Too Much of Anything
8. Greyhound Girl
9. Mary
10. Behind Blue Eyes
Side C:
11. I Don’t Even Know Myself
12. Put The Money Down
13. Pure and Easy
14. Getting in Tune
15. Let’s See Action
Side D:
16. Relay
17. Join Together
18. Won’t Get Fooled Again
19. The Song is Over
*Original Notes
By 1970, The Who were undoubtedly the top rock band in the world. After having released one of the first rock concept albums with The Who Sell Out in 1967, the first rock opera with Tommy and their messianic performance at Woodstock in 1969, and possibly one of the greatest live albums of all time with Live At Leeds in 1970, Pete Townshend had no choice but to up his own epic ante with the band’s next release. His follow-up to a concept album and rock opera could only be a third conceptual, semi-operatic piece, but which also included a film tie-in and actual audience participation with the band’s performance that would steer the direction and plotline of the album itself. As opposed to The Who’s previous rock opera, each song would also be able to stand on its own without the need for musical interludes to propel the storyline and explain the previous song; each song would be self-sufficient. That album was to be called Lifehouse.
Unfortunately, the Lifehouse’s plot-line was so convoluted and unexplainable, its execution so elaborate and unfeasible, not even his Townshend’s bandmates could comprehend it and the project was eventually scrapped. Instead, the best of the album’s surviving songs became Who’s Next in 1971. This is a reconstruction of what that double concept album/soundtrack called Lifehouse would have sounded like if it had been finished in 1971 as originally intended by The Who.
Lifehouse was a futuristic saga with diverging subplots to be unified at its conclusion, with an underlying secondary concept, acted out by The Who themselves through live footage and music. The storyline takes place in a polluted futuristic world in which the populace is literally hard-wired onto “The Grid,” a Matrix-like computer system controlled by the government, meant to oppress and pacify. All art is outlawed—especially music—as it promotes free-thinking, something The Grid is meant to do for you. A scattered few live free from The Grid in the outskirts of the cities—the hippie gypsies of a teenage wasteland.
The first of the three subplots of Lifehouse—also the opening sequence—centers around one of those gypsies free from The Grid, a turnip farmer named Ray. He gathers his wife Sally and daughter Mary to journey to the city, to investigate the mysterious Lifehouse, which is broadcasting pirated rock music onto The Grid (Side A of my reconstruction). The second subplot revolves around Mary’s own spiritual quest, as well as a glimpse of the villain Jumbo, a leading government official who controls The Grid (Side B of my reconstruction). The third subplot centers around the young man who runs the Lifehouse itself, a musician named Bobby who attempts to discover the ‘universal chord’ which consists of ‘notes’ from all people on earth, thus constructing a chord for all (Side C of my reconstruction). The finale of the album was envisioned as Ray, Sally and Mary’s arrival at the Lifehouse, Bobby’s performance of the universal chord, an epic battle against Jumbo and the freeing of the populace from The Grid (side D of my reconstruction).
The aforementioned underlying concept of Lifehouse was the construction of Bobby’s universal chord, as performed by The Who. The first phase of the recording sessions for Lifehouse consisted of The Who performing at The Young Vic theatre to an open-door audience, in which the band would interpret the emotions and souls of each individual audience member, to compose that member’s note, thus eventually creating Bobby’s universal chord. The Lifehouse film was to have footage from The Live Vic intercut with the storyline itself, The Who performing live from the Lifehouse with Ray and Sally listening along to Bobby’s pirate radio broadcast as they traveled the countryside.
As fate would have it, some mountains are just too high to climb. The recordings from The Young Vic were not as promising as anticipated, and the lack of audience understanding or even interest was disheartening for Townshend. Initial studio sessions with producer Kit Lambert in New York were sloppy and below-par for the critically acclaimed rock group. Pete Townshend began to lose hope in his elaborate tale of a dismal future and universal musical salvation and began to drink heavily. The situation reached a head when he overheard Lambert commenting that Lifehouse should be abandoned, which propelled Townshend into a nervous breakdown and suicide attempt. After firing Lambert, recording sessions were rebooted in London with producer Glyn Johns. The results were rejuvenating, having a cleaner fidelity and energetic performance. But that was not enough to save the Lifehouse. The dream finally ended after Townshend admitted it was simply too ambitious and the plot was too abstract. The choice was made to take the best songs from the double-concept album and create a stronger single album without a unifying concept. Ironically, the resulting Who’s Next was The Who’s most critically and financially successful album to date, continuing a mass of their most beloved songs.
Townshend never gave up hope for his Lifehouse, having slowly added more songs to the unreleased mess. Lifehouse often made references in his own work, such as on his Psychoderelect album in 1993. Townshend eventually released The Lifehouse Chronicles boxset in 2000, consisting of his original demos of the project from 1970 and later, his synthesizer experimentations, orchestral renditions of the songs and a 1998 radio play based on Lifehouse. This was what Lifehouse sounded like in 2000—not a finished album, but a scrapbook of a work-in-progress that was never finished. But what would The Who’s version sound like? Here is Lifehouse, as it was originally imagined.
How could we possibly explain something that Townshend himself could not explain to The Who’s inner circle and what took him 30 years to elaborate into a finished product? Surprisingly, Townshend left all the clues we really need in the form of his official tracklist on the Lifehouse Chronicles. Using his tracklist as a blueprint, it is surprisingly easy to reconstruct Lifehouse, as that is presumably the correct and official running order. Knowing the plotline as already explained, the tracklist seems to follow the narrative fairly well.
The only exclusions that should be made are the songs not originally written for the album in 1970-1971. Townshend claimed that Lifehouse was a continuous work in progress, and chose to include later The Who By Numbers and Who Are You-era tracks within the Lifehouse Cronicles. Clearly those songs are excluded here, as they were simply not written by 1971. This reconstruction attempts to be true to the project’s original inception. Once this is done, we are left with approximately 90 minutes of material, adding up to two 45-minute discs. Coincidence?
The next factor to consider is source material. Nearly all versions in the reconstruction are the original 1971 studio Who recordings. Although the original concept of Lifehouse included actual live Who performances—primarily at The Young Vic, that has been excluded here in the name of continuity and quality. If live material was to be used, why bother recording studio versions at all? Thus all versions on this reconstruction are the studio versions. Just as well,1970 live staples “Water”, “Naked Eye” and “Baby Don’t You do It” are excluded from my reconstruction of Lifehouse, because they are unneeded and superfluous, having predated the Lifehouse concept and seem to be unrelated to the storyline altogether.
Also, three tracks (“Teenage Wasteland”, “Greyhound Girl” and “Mary”) were taken from Townshend’s original demo tapes (as found on disc 1 of the Lifehouse Chronicles) because The Who had never recorded their own versions of the songs. In the case of those three songs, they are entirely solo Pete Townshend recordings, with him performing all instrumentation. Since they are vintage 1970 recordings and somehow fit perfectly into the album sonically, I have included them here. Also without those three, the album ceases to be two 45-minute discs.
Few instances of editing were needed beyond tighter crossfades to eliminate lead time between tracks and to create four continuous sides of music. One of two exceptions includes my own unique edit of “Teenage Wasteland”. While clearly the song eventually became and was replaced by “Baba O’Riley”, Townshend chose to include both versions on his final Lifehouse Chronicles. I have decided to respect that artistic decision, but have edited out the final 3 minutes of the song, the sections that emulate what would later become “Baba O’Riley”, thus avoiding any musical and lyrical redundancies. I have also included the beginning of “Baba M1”, one of Townshend’s synthesizer experiments that was later incorporated into “Baba O’Riley”, as a brief introduction to the album and representing the Universal Chord itself. The second unique edit was the creation of a new “Love Ain’t For Keeping”, consisting of the classic Who’s Next acoustic version edited together with the 2-minute jam and coda from the electric version recorded at the scrapped New York sessions (found on Odds and Sods). The effect is a an amazing end to Side A and a fresh look at a familiar song.
RE=UP The Who – Introducing The Who (soniclovenoize reconstruction)
The Who – Introducing The Who
(soniclovenoize reconstruction)
flac --> wav --> SONAR and Goldwave --> flac encoding via TLH lv8
* md5 files, track notes and artwork included
Side A:
1. I’m A Man
2. Heat Wave
3. I Don’t Mind
4. Lubie (Come Back Home)
5. Out In The Street (You’re Gonna Know Me)
6. Please Please Please
Side B:
7. Leaving Here
8. Daddy Rolling Stone
9. Motoring
10. Anytime You Want Me
11. Anyway, Anyhow, Anywhere
12. Shout and Shimmy
*Original Notes
This is a reconstruction of what was almost The Who’s 1965 debut album, consisting mostly of amped-up versions of R&B covers, which was eventually scrapped and re-recorded as their classic genre-creating My Generation. This reconstruction attempts to follow the original promotional acetate sequenced by producer Shel Talmy to recreate what The Who’s first album could have been. The best sources are used and of course this reconstruction is all in mono—pretty much the only way this material should be presented!
How are legends born? Sometimes they are not ready-made brilliant, but their significance needs to be forged and honed. Following a change of drummer to the young yet prodigal Keith Moon and a change of moniker from The Detours to The Who in 1964, the band was discovered by manager Peter Meaden who urged them to change their name to The High Numbers and record his own originals “Zoot Suit” and “I’m The Face” to exploit the current mod movement in the UK. The single failed to chart and the band reverted to their Who moniker. At this time, The Who were crafting their chaotic and destructive stage antics and making a name for themselves as playing “maximum R&B”—electrified, high-energy covers of American rock and rhythm & blues standards, laying the groundwork of what would eventually become punk rock.
Meadon was promptly replaced by Kit Lambert, who was impressed by the band’s explosive live show and encouraged guitarist Pete Townshend to write original material to keep up with the current trend of self-contained bands such as The Beatles and The Kinks. Signed by producer Shel Talmy, the band recorded their debut single that November at the basement studios of Pyre Electronics—“I Can’t Explain” b/w “Bald Headed Woman”, which charted at number 8. This was the catalyst the band needed and Talmy rushed The Who back into the studio to record a follow-up single, “Leaving Here” b/w “Baby Don’t You Do It” in March 1965. The single was shelved for unknown reasons but the band relocated to IBC Studios instead to record a full-length album in April. Prodded by vocalist Roger Daltrey, the sessions focused on reproducing The Who’s current live set in that they consisted mainly of early rock and R&B covers, with the only Townshend originals being recorded of the twelve were the paltry “Out in the Street” and a stunning song that attempted to sonically marry both the melodic and chaotic elements of The Who, “Anyway, Anyhow, Anywhere”.
The later was released in May as a single that charted as high as number 10 and Talmy reached a dilemma: should he release the covers-heavy recordings from April as-is, Daltrey’s vision of The Who? Or should Townshend be pushed to pen all-original material, as proven he could with both “I Can’t Explain” and “Anyway, Anyhow, Anywhere”? In a move that set in motion the band’s legendary trajectory, Talmy pressed a nine-song acetate from the sessions and shopped it around to music journalists. The acetate featured: I’m a Man / Heat Wave / I Don’t Mind / Lubie / Out In The Streets / Please, Please, Please / Leaving Here / Motoring and a final song (most likely “Shout and Shimmy”, as it was the only unheard song from the remaining four, with “Anyway, Anyhow, Anywhere” already released as a single, “Daddy Rolling Stone” as it’s b-side in the UK and “Anytime You Want Me” as it’s b-side in the US). Aside from Townshend later claiming he hated the album in this early configuration, the feedback was dismal and the material was deemed unoriginal and lacked the electric spark heard on the previous singles. It was decided that the whole album should be scrapped and to start again from scratch; Townshend had beaten Daltrey over the direction of The Who.
After a summer tour, the band reconvened to IBC Studios in October with all-new original material and recorded eight more tracks: “A Legal Matter”, “The Good’s Gone”, “It’s Not True”, “The Kids Are Alright”, “La-La-La Lies”, “Much Too Much”, “The Ox” and a little two-chord tune with a bass solo called “My Generation”. Creating the bulk of the remade debut, The Who rescued “Out in the Street”, “I Don’t Mind”, “Please Please Please” and “I’m A Man” from the April sessions and the album was released in December as My Generation, with its title track as the lead single released the previous month. The rest may be history, but the twisted path The Who took to find their generation could have yielded a completely different introduction.
Our first step in reconstructing this early version of My Generation—which I have aptly titled Introducing The Who—is to simply recreate Shel Telmay’s nine-song acetate, sifting in the three remaining songs into side B. The results create a surprisingly well-balanced album, with side A beginning with the ruckus of "I'm a Man", side A ending with the slow-tempo “Please Please Please” and side B beginning with the up-tempo “Leaving Here” (intended as a single anyways!). Also seemingly much more than coincidence, the covers-heavy album would then have one Townshend-original buried deep within each LP side full of cover versions, much like another popular rock band also on Decca Records: The Rolling Stones, in which both of their 1965 releases The Rolling Stones No. 2 and Out of Our Heads featured the exact same layout! As for source material, we will only use the original mono mixes and focus on the very best master of the available material: the 2011 Japanese SHM-SACD remaster of My Generation. All other source material (the 2008 My Generation box set and the 2011 remaster of Who’s Missing Two’s Missing) was A/Bed, re-EQed and volume adjusted to match the parameters of that excellent 2011 SHM-SACD remaster to make a cohesive whole and as close to the sound of the master tapes as possible.
More...
Download
Sunday, September 27, 2020
Traffic Sweden 1967
Traffic
Konserthuset
Stockholm, Sweden
September 5, 1967
SBD A-
01 Giving To You (5:27)
02 Smiling Phases (3:09)
03 Coloured Rain (4:37)
04 Hole In My Shoe (5:58)
05 Feelin' Good (9:30)
06 Paper Sun (5:00)
07 Dear Mr Fantasy (7:15)
TT - 40:59
Steve Winwood - Vocals, Keyboards
Dave Mason - Lead Guitar, Sitar, Vocals
Chris Wood - Saxophone, Flute
Jim Capaldi - Drums, Vocals
***Original Notes***
Got this years ago in a snail mail trade. This is interesting to hear as it predates the release of the first album by about three months. At this point they had only been together for four or five months and all they had released was the "Paper Sun" and "Hole In My Shoe" singles (which apparently sold well in Sweden, hence the venue). A brief but convincing performance from an excellent soundboard source. Enjoy!
Saturday, September 26, 2020
RE-UP Motorhead - Birmingham 1977
Motorhead
Birmingham Town Hall 1977
(covers added separately, don't beat me up)
MP3 320
VG
Sunrise, wrong side of another day
sky high, six thousand miles away
...aint felt this good for an hour
Download
Friday, September 25, 2020
RE-UP Traffic - Live Germany 1972/73?
TRAFFIC
Live in Germany
Unknown 1972/73?
radio broadcast
Flac
Excellent Sound
Important note: Audio speed runs fast, needs to be speed corrected to enjoy.
Lineage: cassette tape > harman kardon burner track marks . tlh flac level 8 > tlh checksum > tlh torrent > you
Tracks:
01. Glad / Freedom Rider (beginning is very fast) 20:11
02. Medicated Goo 8:17
03. Sometimes I Feel So Uninspired 10:17
04. Light Up Or Leave Me Alone 10:28
05. Low Spark Of High Heeled Boys 17:11
Download
RE-UP Traffic - Austria 1973
TRAFFIC
TRAGIC LIVE MAGIC
Wien Konzerthaus, Austria april 2nd 1973
CD silver>NERO FLAC>You
Audience
-VG
DISC 1
40.000 Headmen
Rock n roll stew
Roll right stones
Empty page
no face, no name, no number
DISC 2
Glad/Freedom rider
Tragic magic
(Sometimes) I feel so uninspired
Light up or leave me alone
artwork included
Download
Wednesday, September 23, 2020
RE-UP Pink Floyd - Sweden 1970
Pink Floyd
Lund, Sweden
Akademiska Foreningens Stora Sal, Lund
20th March 1970
FLAC
Source: soundboard > cd > eac > flac
Quality: Excellent
Track listing
Disc 1:
01-Astronomy Domine
02-Tuning
03-Careful With That Axe, Eugene
04-Tuning
05-Cymbaline
06-Tuning
07-A Saucerful Of Secrets
Disc 2:
01-The Embryo
02-Tuning
03-Interstellar Overdrive
04-Tuning
05-Set the Controls For The Heart Of The Sun
06-Tuning
07-The Amazing Pudding (Atom Heart Mother)
Download
RE-UP Pink Floyd Live Sheffield 1970
Pink Floyd
"Rise & Shine" (HRV CDR 035)
City Hall, Sheffield, England
22 December 1970
Lineage: 2nd Gen Recording on TDK AD Cassettes played on NAD 6220 tapedeck into M
Audio Soundcard via phono leads > raw WAV files > MOB Remaster > WAV > FLAC
Source tape provided by Pete Austin
Remastering by MOB
Artwork by RonToon
Produced by Harvested Records
Disc One
Alan's Psychedelic Breakfast (29:32)
Embryo (14:50)
Fat Old Sun (15:18)
Careful With That Axe Eugene (16:13)
Disc Two
Set The Controls For The Heart Of The Sun (12:38)
A Saucerful Of Secrets (26:31)
Atom Heart Mother (33:29)
Atom Heart Mother (reprise) (2:52)
Total running time approx 2 hours 31 minutes
Download
Monday, September 21, 2020
RE-UP Pink Floyd - Live at the 'BEEB' Vols 1 and 2
Pink Floyd
'At The Beeb Vol. I'
Various Radio Appearances
19th December 1967
25th June 1968
2nd December 1968
12th May 1969
Soundboard Recording > Silver CD > FLAC (Lvl. 5)
Except 19th December 1967, which is;
"Excellent Broadcast Recordings" Low Gen Tapes > Silver CD > FLAC (Lvl. 5)
A brilliant little compilation, encompassing some of the overlooked radio work the Floyd did early in their careers,
in brilliant quality. Nice and laid back, almost to the point of what is regarded 'Stereotypical Floyd', in astounding
quality. As stated, the announcements are by the LEGENADRY John Peel, with some interesting little anecdotes from him
included; it's almost like you've tuned into the shows the day they were broadcast - possibly the greatest nostalgia trip.
I would rate this as 'ESSENTIAL'.
VOL 1.
TRACK LIST
01. The Murderotic Woman or Careful With That Axe, Eugene
02. The Massed Gadgets of Hercules (A Saucerful of Secrets)
03. Let There Be More Light
04. Julia Dream
"TOP GEAR" SESSION, RECORDED 25TH JUNE 1968
05. Point Me At The Sky
06. Baby Blue Shuffle in D Major (The Narrow Way Part One)
07. Embryo
08. Interstellar Overdrive
"TOP GEAR" SESSION, RECORDED 2ND DECEMBER 1968
09. Grantchester Meadows
10. Cymbaline
11. Green is the Colour
12. The Narrow Way Part Three
"NITE RIDE" SESSION, RECORDED 12TH MAY 1969
13. Vegetable Man
14. Scream Thy Last Scream
15. Jugband Blues
16. Pow R. Toc H.
"TOP GEAR" SESSION, RECORDED 19TH DECEMBER 1967
VOL 2.
Pink Floyd
'At The Beeb Vol. II'
Paris Cinema, London
September 30th 1971
IME / Columbia Label (PFATB0971)
Soundboard Recording > Silver CD > FLAC (Lvl. 5)
**Notes**
This is the widely circulated BBC recording of the 1971 show at the Paris Cinema, London.
However, many releases have omitted the encore "Blues", as this was never broadcast. The
quality of the recording itself is phenomenal, and could be mistaken by an amateur for an
officially released CD. The performance itself is astonishing; they Floyd were really on
the top of their game at the time of recording. Real space age prog stuff, with lengthy
variations and improvisations a-plenty. With continuity announcements from the one and
only John Peel. Highly recommended for those both new to collecting and die-hard Floyd-heads.
TRACK LISTING
01. Intro by John Peel
02. Fat Old Sun
03. One of These Days
04. The Embryo
05. Echoes
06. Blues
BEEB VOL 1
Saturday, September 19, 2020
Pink Floyd Relic Stuff
This is a disc of unusual, unique or otherwise rare live performances. It takes
quite a lot of trading to hear all these odd tracks, so I thought a compilation
might be in order. This is by no means a collection of the "definitive" versions of
these performances, although many of them are appearing here in improved versions
from what normally circulates. It's a mixed bag, in any case, but sound quality was
not the deciding factor, as you will see...
This is an excellent disc for those who are not the 'hard core' collectors, although
some of this will interest you types as well.
"Antiques and Curios"
rare live performances and other strangeness
produced by Jim Shoes and the Barkin' Dogs
1) Green is the Colour [3:20]
2) Careful With That Pipe Wrench, Larry [3:19]
from BBC Night Ride, May, 12, 1969
Ok, now what the hell is this doing on a "rareties" disc? Well, these tracks are
often missing and/or replaced with the 1970 versions on many a RoIO, even some of
the 'definitive' BBC collections These tracks are almost as rare as the 1970
'Fat Old Sun' broadcast found on Harvested's 'Mooed Music'. These have the bird
sounds, and 'careful' isn't quite a normal version (ergo, my not-so-normal title).
I would be interested to know if anyone has these tracks in pristine quality, as
these are not ideal. [VG]
source:
'In Memoriam 1967-1981' Vinyl LP Box Set, colored vinyl.
3) Main Theme from 'More' [10:25]
Town Hall, Birmingham, Feb. 11, 1970
It's a cryin' shame this wasn't played "more" often. some digital tinkering happened
here to squeeze what could be squeezed out of this. I think it sounds better than
the ususal versions, but it's still not great. The performance, however, is
incredible. This infact may be nick mason's finest moment. flamboyant, yet always
tasteful. [VG]
source:
'In Memoriam 1967-1981' Vinyl LP Box Set, colored vinyl.
4) Moonhead [7:39]
5) The Pict Rant [3:50]
Ernst-Merke Halle, Hamburg, Nov. 14, 1970
A rare complete performance of Moonhead (aka 'Corrosion'), followed by one of
Roger's best and most, um, vigorous, 'Pict Rants'. This comes from a clone of the
master tape, and sounds better than the 'Grooving With a Pict' RoIO of this show.
[EX-]
source:
Hamburg 1970 (DFA-013) CD-R
6) Home Again [1:45]
7) Mortality [3:30]
The Dome, Brighton, Jan. 20, 1972
The only instrumental performance of 'Home Again' (aka 'Breathe reprise') along with
the 'preacher tape' organ noodling. Dave shows off with the voxbox guitar thing. I
like this version quite a bit. Mortality ends about a minute earlier than on the
source tape, because a loud and noise kicks in, as their PA system started to fail.
An editorial decision was made to remove this unpleasantness from this release. It's
just a bit more of the same organ fluff and sound effects, so it's not like there
is anything 'important' compromised. [EX]
source:
The Darkside Rehearsals CD
8) Have a Cigar [5:07]
Knebworth Festival, UK, July 5, 1975
The last show of the 1975 tour, and the only live version with Roy Harper. After
hearing this, you'll be grateful there's only one. Sound quality is not so hot, and
the performance, is, well, tired. I'm sorry this turkey is in here, but hey. [VG-]
source:
Knebworth Park (Digital Floyd Project) CD-R
9) Pigs on the Wing pt.2 [3:39]
Olympic Stadium, Montreal, July 6, 1977
Roger shares some love with the audience. Later in the show he had more to share.
This comes from a better source than 'Azimuth Coordinator', and one might be
inclined to speculate that this is but a taste of things to come. Indeed. Nice solo
from Snowy White. [EX+]
source:
Fireworks Show in the Canadian Walls CD-R
10) The Last Few Bricks pt.2 [8:16]
LA Arena, Los Angeles, Feb. 7, 1980
I could write a book on this 'song', but i won't. This is the last piece of new
music from the 4-man lineup, the extra jam played on the first night of the Wall
tour. It's a variation on an instrumental version of breathe (hmm, sound familiar?),
was probably 'written' by dave gilmour, as he was the 'music director' for the shows,
and i'll bet it was rehearsed once or twice. Often assumed to be a one-time improv
jam to cover a lag in the stage show, it was infact played TWICE... [EX]
source:
Azimuth Coordinator vol3 CD
11) The Last Few Bricks pt.2 [3:16]
LA Arena, Los Angeles, Feb. 8, 1980
...and this is the other performance. It's a different arrangement, and about half
as long as the night before. A true gem; performance-wise, I like this one better.
but the sound quality is not as nice as the other. I didn't do the vinyl '
remastering' on this one, and there is too much noise reduction for my taste. [VG]
source:
A Little Black Book With my Poems In CD-R remastered from LP
12) Celestial Voices [9:13]
Royal Albert Hall, June 26, 1969
The only live performance of this with a choir and orchestra. 9 minutes long, this
whopper originates from a better source than what usually circulates of this show.
[VG]
source:
Pink Floyd in Concert with the Azimuth Co-Ordinator CD-R
13) Brain Damage/Lunar Eclipse (RoIO Remix 2000) [5:30]
Studio and Guild Hall, Portsmouth Jan 21, 1972
How's THAT for a tacky title? This is a combination of three oddities: The
quadraphonic mixdown of Brain Damage from "Works", the guitar solos shown in the
studio excepts of the Live at Pompeii movie, and the first performance of "Eclipse"
(the song) at Portsmouth. Except, that it ain't quite a song yet, as you will hear.
My edits are basically passable, but this is in NO WAY to be considered a rare
studio outtake. I (ME) made this, for your amusement only.
[Studio/EX-] sources:
Works Vinyl LP
Pompeii Soundtrack Vinyl LP (Edgar Rubabande)
Eclipse of the Dark Side a Piece for Assorted Lunatics CD
RE-UP Pink Floyd - The Syd Barrett Story
.jpg)
Syd Barrett Before the Piper, and After
Here's a work I put together recently. Yes, yet another Syd collection. I was digging through my files and found some unlabeled obscure stuff downloaded from god knows when and where. No real crazy diamonds here, but maybe something of worth for the completionist out there ***sighs forlornly***. I can only imagine how berzerk I'd be if this internet thing was around in my halcyon days of Floydian lust. Digging through dusty basements of very cool record stores in search of the elusive bootleg vinyl find! Ahh...but those days...
As passionate love will eventually shift to compassionate love, Pink Floyd will forever fill my soul.
***gets a nudge***
Sorry about that. Anyway, Here's my dedication to Mr. Roger Barrett. Syd to you and me. A collection of works from the very beginning to sadly, the very end. Most here is presented in FLAC, with all the 'infos' that I have.
The live half of the show is a couple of Floyds earliest. Not too hard to find, but here they are, together.
Syd's final concert (mp3160) and final recording sessions end the story.
Syd's legacy will forever live on throughout the minds of Floyd fans and the rock music pantheon of lost masterminds. A passion that burns so bright, a vision so clear, a motivation to create in the realist of terms, the purist expression of self.
RE-UP Pink Floyd Edmonton 1970
Pink Floyd
Sales Annex Pavilion
Edmonton Alberta Canada
1970-10-09
CDR->EAC->WAV->Flac level 8
Great sounding audience recording. Source unknown.
1. Green Is The Colour / Careful With That Axe, Eugene (13:53)
2. Atom Heart Mother (20:15)
3. Embryo (11:34)
4. Set The Controls For The Heart Of The Sun (12:25)
5. Astronomy Domine (8:54)
6. Cymbaline (11:37)
DOWNLOAD
RE-UP Pink Floyd - Winterland 1972
Pink Floyd
Title: Winterland 1972
Date: 23-24 September, 1972
Location: Winterland Auditorium, San Francisco, California
Source: TDK Tape 100 Master Reel>Sirene-046 Silver CDs
Copy 77 of 300>EAC>WAV>SHN
Rating: VG+
Disc One (23 September):
1. Speak To Me 3:31
2. Breathe In The Air 2:42
3. The Travel Section (On The Run) 5:33
4. Time 6:01
5. Breathe In The Air (Reprise) 1:03
6. The Mortality Squence (The Great Gig In The Sky) 4:27
7. Money 6:03
8. Us And Them 6:56
9. Any Colour You Like 4:08
10. Brain Damage 3:43
11. Eclipse 1:53
12. One Of These Days 10:09
13. Careful With The Axe, Eugene 9:11
Total: 65:20
Disc Two (24 September):
1. Speak To Me 3:02
2. Breathe In The Air 2:38
3. The Travel Section (On The Run) 4:44
4. Time 5:52
5. Breathe In The Air (Reprise) 1:03
6. The Mortality Squence (The Great Gig In The Sky) 4:19
7. Money 6:09
8. Us And Them 7:28
9. Any Colour You Like 4:11
10. Brain Damage 3:43
11. Eclipse 1:38
Total: 44:47
Disc Three (24 September):
1. One Of These Days 10:02
2. Careful With The Axe, Eugene 13:35
3. Echoes 23:32
Total: 46:09
Comments: Taken from the original master reel recorded by a Japanese
person who visited San Francisco in 1972. This version has NEVER been
out before. 300 copies only, numbered edition. The artwork includes
a picture of the master reel-to-reel tape.
DOWNLOAD
RE-UP Pink Floyd - Houston TX 1977
Pink Floyd:
Jeppeson Stadium, Houston, TX
April 30, 1977
1st Gen Tape-"Flight of Pigs (FOP)"
1st gen tape>dat>cd-r>Bias
Peak Pro 5.2.1>XACT>flac
Flac
VG-
Loud Audience
Setlist:
Disc One: (68:10)
1.Sheep (cuts in)
2.Pigs On The Wing 1
3.Dogs
4.Pigs On The Wing 2
5.Pigs (Three Different Ones)
6.Shine On You Crazy Diamond I-V
7.Welcome To The Machine
Disc Two: (47:08)
8.Have A Cigar
9.Wish You Were Here (includes: "Has anybody got a joint for sale?")
10.Shine On You Crazy Diamond VI-IX
11.Money
12.Us And Them
Lineup: Waters-Wright-Mason-Gilmour
(w. Snowy White on 2nd guitar and Dick Parry on sax).
*Original Notes
The end of April marks the 30th anniversary of this great springtime
Texas concert held outdoors. This version is not sourced from a boot.
It comes from a 1st gen tape transfer to dat. There are small cuts made
by taper, tape flips, and several instances of tape wear here and there.
This is the best quality, lowest gen I have seen of this gig. Since I do
not have any boots of this show, I cannot comment on how this compares to
any boots that might be out there. I have taken the liberty of naming this
30th Anniversary 1st gen version "Flight of Pigs (FOP)."
DOWNLOAD
RE-UP Pink Floyd - Denver Radio Special 1989
.jpg)
1989-06-17 - Lost & Founds Underground - Denver FM
A very long Pink Floyd special, and, as DJ told, only live music and studio outtakes, 3 hours of music and few words.
Flac
EX+
*******************************************************************
01 Intro
02 Welcome To The Machine (studio outake)
03 DJ
04 Pink Anderson Song
05 Pow R Toc H (1967-11-13)
06 DJ
07 First Pink Floyd Interview (1967, CBC)
08 Interstellar Overdrive (1968-05-06)
09 Reaction In G (1967-09-25)
10 DJ
11 Vegetable Man
12 Gigolo Aunt (1970-06-06)
13 Gigolo Aunt (studio)
14 Paul Breen Interview (1988)
15 DJ
16 Don't Ask Me (Jokers Wild)
17 DJ
18 The End Of The Beginning (1969-04-14)
19 DJ
20 Sleeping (1969-09-17)
21 Nightmare (1969-09-17)
22 DJ
23 Rain In The Country (from Zabriskie Point)
24 If (1970-07-16)
25 Breathe (from The Body)
26 Old Folks Ascension (from The Body)
27 Pigs On The Wing (Part 1 and 2 with Snowy White solo)
28 DJ
29 Grantchester Meadows (1970-04-29)
30 Astronomy Domine (1970-04-29)
31 One Of These Days (1971-09-30)
32 Careful With That Axe, Eugene (1972-09-22)
33 DJ
34 Obscurd By Clouds (1973-03-11)
35 When You Are In (1973-03-11)
36 On The Run (1975-06-18)
37 Any Colour You Like (1975-06-18)
38 Brain Damage (1975-06-18)
39 Eclipse (1975-06-18)
40 Outro
*******************************************************************
DOWNLOAD
RE-UP Pink Floyd - Chicago 1973
THE PINK FLOYD
March 7, 1973
International Ampitheatre - Chicago, IL
Flac
-VG
GENERATION:
ANA(2) -> CDR(2) -> WAV(M) [16bit/44.1kHz] -> WAV(1) [16bit/44.1kHz] -> FLAC [Level 8]
SETLIST:
1 Echoes [23:58]
2 Obscured by Clouds/When You're In [14:21]
3 Childhood's End [08:04]
4 Careful With That Axe, Eugene [12:15]
5 The Dark Side of the Moon [48:13]
6 One of These Days [08:15]
[115:09] total
ORIGINAL NOTES:
Raw transfer, as far as I am aware. The recorder was stopped and started quite a few times between songs. Some pitch problems appear in the second set. Tape splices repaired, and some mild attempt to dampen the many start/stop cuts; no actual crowd noise removed.
DOWNLOAD
RE-UP Pink Floyd - Boeglingen Germany 1972
Pink Floyd Mega-Rare Restored LP - "Live At Boeblingen" 1972-11-15 Speed-corrected and rejoined LP remaster with artwork - Features Roger ranting in Welsh!(?)
FLAC
EX
*Original Notes
A lot of fun to work on, this 2 LP set ran way, way too slow. It was pitch-corrected on the turntable to the online program "Virtual Keyboard" and declicked. The album fades between sides at strange moments (why didn't they keep DSOTM together?), but fortunately there was enough overlap to resplice it together almost without any notice.
It's a great recording, and one of the longer Dark Sides I've ever heard. Roger is heard ranting in *Welsh during "Careful ... ", making this one of the most intense sets to ever make it onto vinyl.
*** I question this, thinking it's Scottish Gaelic Roger uses in these parts***
Setlist (Runtime 1hr 30mins 01sec)
CD 1 (50:16)
Speak To Me
Breathe
On The Run
Time
The Great Gig In The Sky
Money
Us And Them
Any Colour You Like
Brain Damage
Eclipse
CD 2 (39:15)
Careful With That Axe, Eugene
Echoes
Lineage: FL1/4 ->Technics SL1200MK2 running way fast ->Echo Layla ->Sound Forge 6.0->Click And Crackle Removal ->Flac via Flac frontend, level 6, sectors aligned and verified
Many thanks to Sgt Weatherman for making my front cover scan into artwork!
Enjoy!
A DoinkerTape
DOWNLOAD
Pink Floyd - Live Cleveland June 1977 NEW FLAC VERSION
Pink Floyd
25th June 1977
Municipal Stadium,
Cleveland, Ohio USA
Bootleg Title: Have You Heard The News? [Spectre Edit]
Source: Audience Recording
Quality: EX-
Mp3 320
Total Length: 129min 41sec [69:22 + 60:19]
Artwork: Included [new and original]
Remastered and equalized by: pinkfloyd77 pinkfloyd@op.pl on 08-24-2005.
Speed corrected/edited/remastered by: Spectre spectre@planetspectre.com on 09-04-2005.
Setlist:
Disc 1:
1. Announcement - Introduction [2:32]
2. Sheep [12:21]
3. Pigs On The Wing Part 1 [1:34]
4. Dogs [17:32]
5. Pigs On The Wing Part 2 [2:49]
6. Pigs (Three Different Ones) [21:17]
7. Announcement - Leave That Pig Alone [0:27]
8. Shine On You Crazy Diamond Parts 1-5 [10:50]
Disc 2:
1. Welcome To The Machine [8:04]
2. Have A Cigar [5:59]
3. Wish You Were Here [5:50]
4. Shine On You Crazy Diamond Parts 6-9 [22:02]
5. Money [11:39]
6. Us And Them [6:45]
*Original Comments:
An excellent recording in need of a little speed correction and editing. Speed corrected using Audacity 1.2.3, removed SBEs, and FLAC'd. Then all WAV files run through Sound Forge 8.0, manually removed lots of pops/digiclicks, smoothed over some rough areas, smoothed transitions between songs, recut a couple songs for better playability, switched last two songs for show accuracy, cleared out SBEs in new files, and redid artwork to reflect new setlist. This isn't perfect, but a majority of the distracting pops and clicks were removed.No equalization or normalization was done to this show.
More notes...
-- This would have come out a lot better if I had a "Sit Down" filter for Sound Forge. I swear people were yelling this through the first two-thirds of the show.
-- I split the announcements off the end of Pigs-Three Different Ones Seemed like they would be more appropriate
as a separate track than added to the end of the song. Track transitions that couldn't be done
fairly evenly due to poor levels between tracks or other issues were done with short fades. I
tried to avoid having tracks sounding like they were poorly patched together.
-- Some songs had some weird level issues in them. I didn't mess with this or apply eq to them.
I wanted to preserve the songs as much as possible and I wouldn't have had much luck with some
of the areas.
-- There are A LOT [and I mean A LOT] of tiny clicks throughout this show. It would have destroyed
it to remove them all. I attacked them fairly aggressively when I started, but started ignoring
them as I went along. The pops and cracks [and a few booms] were what I concentrated on since these
really detracted from the listening experience.
-- I didn't spend too much time messing with the announcement tracks. Since it was essentially
talking, I didn't worry too much about them.
-- Somewhere around 10:00-10:30 into Money, things got pretty ugly for the recording...not sure
what the deal was...a huge stream of pops, clicks, and noise. I trimmed down most of it, but don't expect
too much of an improvement. I also removed the taper's commentary at the end and terminated with
a 2 sec fade out because...
-- Us and Them also seems to be suffering from possible taper hardware issues. Most of the instrumental
intro is missing and was replaced by a screech. Removed screech, added 2 sec fade in, and left
some crowd noise at the beginning so you don't miss anymore of the beginning of the song.
-- Keep in mind this recording was far from perfect audio when I started. Some imperfections simply
made it worse when I edited them, so they were left alone. In cases where pops were in a rapid sequence,
I trimmed them down, but removal would have left "skips" in the flow of the song, so they weren't
completely removed. Please don't approach this expecting a pristine remaster, because that's not what
this is. I probably could have spent months on this, but I doubt I have the mental strength to deal
with the "Sit Down" crowd for that long. There is always room for another tweak here and there, but
I think this is good enough at this point.
Thanks to pinkfloyd77 for providing the previous version of this show to the masses. Very much
appreciated!
Enjoy!
[Spectre]
DOWNLOAD FLAC
RE-UP Pink Floyd - Holland 1968
PINK FLOYD
Jaarbeurs-Margriethal, Utrecht, Holland
December 28th 1968
Sound Quality: VG
Source: Audience
Generation: cass[1] > DAT(?) > SHN > WAV > CoolEdit Pro 2.0 > WAV > FLAC
Set-list:
1. tunings (5:51)
2. Astronomy Domine (6:23)
3. Careful With That Axe, Eugene (8:22)
4. Interstellar Overdrive (12:31)
5. Set The Controls For The Heart Of The Sun (8:21)
6. A Saucerful Of Secrets (12:31)
Total running time : 53:59
*Original Notes
Speed-corrected and reindexed by Mandrill (January 2007)
I must add that in 2005 I did a speed-correction of the 2nd/low gen version of this show, but I must admit that it was a bit too low-pitched in the end.
This 1st gen sc may not be perfect, but it's a really better work imho. I hope you'll enjoy it! ;-)
################ORIGINAL INFO FILE #################
Jaarbeurs-Margriethal, Utrecht, Holland, December 28th 1968
Sound Quality: VG+
Source: Audience
Generation: cass[1] > DAT(?) > SHN
Disc (51:11m)
1. tunings (5:36m)
2. ASTRONOMY DOMINE (6:21m)
3. CAREFUL WITH THAT AXE, EUGENE (7:41m)
4. INTERSTELLAR OVERDRIVE (12:09m)
5. SET THE CONTROLS FOR THE HEART OF THE SUN (7:40m)
6. A SAUCERFUL OF SECRETS (11:44m)
This is from a 1st generation tape and contains 5:30 of tune-ups before the show. It is the first time I've ever heard such a thing on all the tapes I've heard from this show. Sound quality surpasses any version I've heard from this show as well. I find it somewhat odd that the tune-ups never made it to any of the higher gens. The show itself is rather good and the sound is really not bad at all, except for the fact that it's distant and therefore announcements are not super loud. Sound is VG ... VG+ to an extreme, definitive version. (The Pink List)
DOWNLOAD
Subscribe to:
Posts (Atom)