Friday, 6 March 2015

(Flac) STEVIE WONDER - Funkafied Rainbow (1974)

A complete concert by Stevie Wonder from 31 January 1974. It was recorded at the Rainbow Theatre in London, halfway between the release of the classic albums "Innervisions and "Fulfillingness' First Finale" The sound quality is excellent, perhaps only needing a final mix before release, which had been the intention. The nature of the performance is sprawling, meandering and at times unfocused but never less than fascinating. Stevie and his band relax on stage, away from the tight discipline and time schedule of the recording studio. He is accompanied by guitarist Michael Sembello, the rhythm section of Reggie McBride (bass) and Ollie Brown (drums) and Wonderlove's female backing vocalists.

Stevie Wonder - "Funkafied Rainbow"
Live in London January, 1974
(from the "Big-Fro Discs" release (BF-001/2), 2005)

Rainbow Theatre, London
31 January 1974

Disc #1
 1. intro > Contusion (17:44)
 2. Higher Ground (5:52)
 3. Superwoman (3:12)
 4. To Know You Is To Love You (7:11)
 5. Signed, Sealed And Delivered (3:03)
 6. Visions (9:56)

Disc #2
 1. Don't You Worry 'Bout A Thing (4:44)
 2. Living For The City (10:59)
 3. You Are The Sunshine Of My Life (12:00)
 4. Superstition (7:28)
 5. encore jam (6:02) 


Reviewed by Joe Kenney, 13/09/2006ce

For one of the greatest performers of the 20th Century, there’s very little live material afloat from Stevie Wonder, especially from his celebrated “golden age” in the 1970s. This man released a string of perfect albums in the 1970s (from “Music of My Mind” in 1972 to “Songs in the Key of Life” in 1976), yet never issued an official live recording during that period, which is a shame.

 This is a bootleg of Stevie’s concert at the Rainbow in London, in 1974. Word was, back in the day, that this concert was going to be officially released, but later on Stevie changed his mind, saying the audio quality of the tapes wasn’t up to snuff. This is strange, because the bootleg is a soundboard recording, and has great sound. Everything comes in crystal clear.

 If you take a look at this CD, the first thing that will strike you is the length of most of the songs. Seven minutes, eleven minutes, even eighteen minutes. You take a look at that 1974 date, take a look at Stevie’s large, multi-ethnic band (complete with electric guitar, keyboards, a great bassist), and you figure you’re in for some stoned-out mid-‘70s “hairy funk,” which was the style at the time. But, save for a few moments, that’s not the case. The majority of the running time on the longer tracks is given over to Stevie improvising while playing his clavinet alone; there are only a few moments of full-on funky jamming from the complete band. Which is a shame, especially for anyone who’s seen that great footage of Stevie on “Sesame Street” from 1972, playing “Superstition” live with his touring group; there they tear through the song and take names. (For anyone who wants to see this, search for it at

 The concert opens with an eighteen-minute take of the rock/jazz instrumental “Contusion” (released two years later on the double LP “Songs in the Key of Life”), the house announcer introducing the star to the audience while Stevie’s band (aka Wonderlove) vamps through some solos. When I first saw the length of this track, I anticipated a workout of epic proportions, the band really getting into the groove. But instead, the whole affair is more of a twelve-minute warm-up. The bass will play for a few minutes, then the guitar, then some funky drums. Nothing locks together into “Contusion” itself until the final three minutes, and from there it sounds remarkably like the album version. So pretty good, but not the super-long fusion extravaganza I expected. However, warm-up or not, I can't stress how funky it all is.

 From there Stevie leads the band into some funky clavinet/drums jamming, with airy, wordless female vocals in the background. Two minutes in, Stevie cuts this off, telling the audience “We’ve gotta save that for later on in the show, we can’t do that now.” He then informs us that the first track we heard was “Contusion,” and then launches into “Higher Ground.” Again, this sounds much like the studio take, though Stevie has a different, more electronic (yet still funky) sound on his clavinet, which sounds similar to some of the keyboards on the Miles Davis fusion classic “On the Corner.” The band isn’t given much room to jam; it all sounds very much like the version on “Innervisions,” except the bass is a bit louder. However Stevie’s voice, I should mention, is strong throughout this song and the rest of the concert – he hits the same notes he hits in the studio takes.

 Next we have “Superwoman,” off the truly unsung “Music of My Mind” LP. Feedback gets in the way of the first few lines, but from there it’s just Stevie, a smooth guitar, bass, and drums. Two and a half minutes in, Stevie calls “Everyone play,” and the band opens up for the final minute. The track is much shorter than the studio take found on "Music of My Mind;" here Stevie only sticks to the first half of the song ("Superwoman"), and skips the second half ("Where Were You When I Needed You").

 After the more melodic “Superwoman,” things get funky again with “To Know You is to Love You,” a song Stevie penned and produced for his former wife Syreeta, and which appeared on her first album. Here it’s stretched out to a bit over seven minutes, and the full band gets to jam the groove; unlike “Contusion,” they’re all playing together. A good portion of the song is given over to the band jamming on the riff, with Stevie’s backup singers moaning “To know you is to love you,” while the man himself provides some wordless vocals overtop. Lots of moments like this on the concert, by the way; Stevie’s fond of his “aahs” and such. As the track builds and builds, the funk gets deeper and deeper, with all kinds of wah-wah action from the guitar and clavinet.

“Signed, Sealed and Delivered” is next, again sticking close to the studio version. Not much to say about this one; the song precedes Stevie’s self-produced, “golden” era, so it doesn’t allow for the funky expressionism he brings to the later tracks in the set. But hell, the song’s a classic, and one of the best things Motown has in its catalog. It just doesn’t fit here.

“Visions” follows, ten minutes long, with the first three minutes given over to Stevie expressing his feelings to the audience over soft, soft guitar, bass, keyboard, and the occasional cymbal tap. He tells the audience he loves them, then the song officially begins. Again, it is very close to what you’ll hear on “Innervisions.” The song ends at seven minutes in…or does it? Stevie, for some reason so happy with his audience, decides to improvise a whole new verse. The music stays the same, that soft, jazzy dreaminess familiar from the godlike “Innervisions” LP. The crowd screams its appreciation at the end, and the track closes out Disc 1.

 Disc 2 opens with “Don’t You Worry ‘Bout a Thing,” another “Innervisions” classic. Something’s happened midway, because now everything seems much louder than before. Maybe this is the audio problem which kept Stevie from releasing the show officially – the first half wasn’t recorded as well as the second? The song as performed here isn’t as full as the studio version. It’s more of an intimate affair, Stevie on keys, with the band quietly jamming behind him. It’s also not nearly as ebullient and frantic as the studio version. That is, until it kicks into a higher gear two minutes in. The guitarist has this warm tone throughout the concert, and here it’s put to good use, with him providing jazzy little notes and riffs. Again, there’s a big difference between the album version and this live version. Which is a good thing; who wants to go to a concert and hear songs that sound the same as their studio counterparts?

 And now we come to “Living for the City,” that epic classic from “Innervisions.” Eleven minutes here, but again not due to the super-jamming you might expect (or even a re-enactment of the infamous mid-song “arrest” on the LP version), but due to Stevie improvising solo. It starts off just like the studio version, save with the Wonderlove backup girls adding vocals at the end of each verse. Stevie’s keys are brighter here than on the studio version, nearly ear-piercing at times. Now, we all know how the LP version features a staged arrest and lock-up halfway through the song. Here, Stevie just stops the song four minutes in, breaks for a few seconds, and then comes back jamming the theme on his keys. He prods the band to keep up with him (drums and bass only, with guitar eventually joining in), then directs the audience to clap along. From there on it’s Dictator Stevie; in between his vocal improvisations (“I’m sick of/Living for the city”), he painstakingly attempts to get the backup singers (and the audience) to not only sing the phrase “Are you tired now,” but also WHEN to sing it. “No, no, don’t repeat it AFTER me, sing it WITH me!” Stevie yells on multiple occasions. One can almost see him shaking that sunglass’d face in frustration. Finally, the band joins in for a full-on groove for the final minute.

“You Are the Sunshine of My Life” follows, here even longer than the preceding track. Only three minutes on “Talking Book,” here “Sunshine” is stretched to an unwieldy twelve minutes. My favorite part: Stevie introduces a member of Wonderlove who co-sings the song with him; after she sings “You are the apple of my eye,” someone in the audience whistles at her. Instead of dropping out of the track for more improvisation, here the group jams away in a jazzy groove. This then breaks down for a minute or two of Stevie solo on harmonica. Then the band comes back in on that jazzy groove. Stevie calls for “a little more edge” on his mic, then jumps into some scat vocals over the beat. Finally he cuts loose with that harmonica, the band opening it up a bit. But this track, despite it’s running length, is a bit too subdued. And I have to mention that Stevie treats us to his imitation of Gomer Pyle, singing the lyrics, for the last minute or two.

“Superstition” follows immediately thereafter, and I am so glad it’s here. Not only is this my all-time favorite Stevie Wonder song, it’s also just my favorite song ever. Stevie sticks to the funk here; no more of that soulful improvising over quiet backing. This is hard and heavy throughout its seven-minute running time. Even the guitar gets turned up to a tougher edge! It’s not as full-sounding as that “Sesame Street” performance mentioned above (mostly because Stevie had guys on sax and horn there; here he doesn’t), but it’s just as funky. Yes, the band hits on all cylinders here, and though I can’t say I like this version better than the studio take released on “Talking Book,” I have to say it rocks just as hard. But then it pulls a fast one, revving up the tempo four minutes in, into a hardcore-level pace. Stevie works the hell out of that clavinet, and the guitarist (I see him, waiting patiently throughout the show for the nod from Stevie) finally cuts loose. The band locks in on a bass-lead groove, with the guitarist shredding overtop. (But still, what I wouldn’t give to have him joined by Pete Cosey – he of “Agharta,” Miles Davis’ super-heavy guitarist around this time period.) And then, just when you think it’s all about to pound you into the dirt, the song gets even faster! Here the group officially takes over, the guitarist, bassist, and drummer just rocking the hell out of the tune. Without question, this track is the highlight of the concert. Eventually the group fades away, with Stevie’s keys floating up and taking over, leading us into the next (and final) track.

“Encore Jam” is how the CD labels this final song. “Encore Improvisation” would be just as good a title. It’s all Stevie improvisation, telling the audience how much he loves them, while the group provides quiet yet jazzy accompaniment. Stevie’s sure to let us know he did NOT write this song earlier; he’s making it all up as he sings. Sometimes this works out, sometimes it doesn’t; a few times Stevie has no choice but to make up words to finish the rhyme. It’s funny, at one point he sings to the crowd that if his future albums don’t please them, then that will only serve to make him try to do better! The track wraps up at six minutes, the crowd screaming, Stevie telling them he loves them, the guitarist throwing in one last, very Hendrix-ian solo (“Angel”-era Hendrix, that is), and it’s all over.

 There are two Stevie Wonders: the soulful balladeer who gives us tracks like “You are the Sunshine of My Life,” “Love’s in Need of Love Today,” and “Isn’t She Lovely,” but sometimes gets a bit too saccharine for his own good. And there’s the bad-ass Stevie, who gives us the fuzzed-out funk of “Keep On Running,” “All Day Sucker,” and “Do Yourself a Favor” (one of the greatest tracks in the Wonder catalog, a hard-hitting funk monster which can be found on his 1971 LP “Where I’m Coming From”). I would’ve preferred more of the hard-hitting funk Stevie on this bootleg, and less of the soulful improvising Stevie, but that’s just me.

 The fact is, this is a great concert, with great sound, and it should’ve been released officially. Definitely hunt it down if you are a Stevie fan (and let’s face it, what excuse would you have to NOT be a fan of golden age Stevie Wonder?).

Download disc one

Download disc two

Wednesday, 25 February 2015


Godspeed You! Black Emperor

Monheim is compiled from two separate performances, both recorded within a month of each other, at the end of 1998. The download links take you to where you can choose from flac mp3 or listen to the available stream.

"Hung Over as the Queen in Maida Vale"
BBC Studios, London, UK
John Peel session
Recorded: 22 November 1998
Broadcast: 1 January 1999
Source: FM

01. Monheim > Improvisation (includes Chart #3 & Steve Reich) (18:17)

Consists of the movements "Monheim" (which later appeared on 2002's Lift Your Skinny Fists Like Antennas to Heaven), "Chart #3" (also on Lift Your Skinny Fists Like Antennas to Heaven), and "Steve Reich" (unfortunately unreleased).

 As a suite not unlike how the band present their albums (specifically their first two full lengths), this set works very well. "Monheim" is a fantastic opening piece, building up from a bittersweet guitar strum into a churning mess of estranged harmony and intense release. A momentary pause allows us to catch our breath before "Chart #3" begins, a relatively simple piece which revolves around a sample of a man speaking very passionately about spiritual discovery. The simplistic and distant guitar chords immediately segue into the final section, "Steve Reich," and if you were looking for a payoff, you'll never find one sweeter than this. In fact, I would go so far as to say that the fact that this and the VPRO radio sessions as the only way of hearing this incredible piece of music is the most criminal case of withholding brilliance that I've ever encountered! This is simply breathtaking from start to finish. Mimicking the eponymous composer's early experiments in form, the three guitar players present compounding riffs one atop the other, all within a relatively closed harmonic space, and all of which are both beautiful and melancholic. These three riffs are the centre of the piece, as they wail and churn within it for its entire duration, the percussion and violin/cello adding emphasis and accentuation in simplistic and perfect ways. If this piece really has been transformed into an A Silver Mount Zion, it's too bad - in this original form, its incredible, and should definitely have been recorded by the band before its indefinite hiatus.

 Unfortunately, though, this is the best place to find it. While it is isolated from "Monheim" in the VPRO sessions, those recordings have quite a bit more hiss, and the performance is of a slightly lesser quality (a few inherent imperfections which bring it down a notch). This is recommended to all GY!BE fans, and if you're a patient listener, it would be a fantastic introduction to the band as well. (review by seasonsinthesky - November 25, 2006,

Download link:

Sojus 7, Monheim, Germany
17 December 1998
Source: Soundboard

02. Intro (3:10)
03. The Dead Flag Blues (9:40)
04. Moya (14:28)
05. World Police And Friendly Fire (13:55)
06. She Dream’t She Was A Bulldozer, She Dream’t She Was Alone In An Empty Field > J.L.H. Outro (18:36)

Download link 2:

Front cover:

Back Cover:

Thursday, 19 February 2015

Benefit sanctions: Britain's secret penal system

Benefits claimants are subjected to an 'amateurish, secret penal system which is more severe than the mainstream judicial system', writes Dr David Webster of the University of Glasgow.
By: Dr David Webster
Date: Monday, 26 January, 2015
Few people know that the number of financial penalties (‘sanctions’) imposed on benefit claimants by the Department of Work and Pensions now exceeds the number of fines imposed by the courts. In Great Britain in 2013, there were 1,046,398 sanctions on Jobseeker’s Allowance claimants, 32,128 on Employment and Support Allowance claimants, and approximately 44,000 on lone parent recipients of Income Support. By contrast, Magistrates’ and Sheriff courts imposed a total of only 849,000 fines.

Sanctioned benefit claimants are treated much worse than those fined in the courts. The scale of penalties is more severe (£286.80 - £11,185.20 compared to £200 - £10,000). Most sanctions are applied to poor people and involve total loss of benefit income. Although there is a system of discretionary ‘hardship payments’, claimants are often reduced to hunger and destitution by the ban on application for the first two weeks and by lack of information about the payments and the complexity of the application process. The hardship payment system itself is designed to clean people out of resources; all savings or other sources of assistance must be used up before help is given.

Decisions on guilt are made in secret by officials who have no independent responsibility to act lawfully; since the Social Security Act 1998 they have been mere agents of the Secretary of State. These officials are currently subject to constant management pressure to maximise penalties, and as in any secret system there is a lot of error, misconduct, dishonesty and abuse. The claimant is not present when the decision on guilt is made and is not legally represented. While offenders processed in the court system cannot be punished before a hearing, and if fined are given time to pay, the claimant’s punishment is applied immediately. Unlike a magistrate or sheriff, the official deciding the case does not vary the penalty in the light of its likely impact on them or their family. If the claimant gets a hearing (and even before the new system of ‘Mandatory Reconsideration’ only 3 per cent of sanctioned claimants were doing so), then it is months later, when the damage has been done. ‘Mandatory reconsideration’, introduced in October 2013, denies access to an independent Tribunal until the claimant has been rung up at home twice and forced to discuss their case with a DWP official in the absence of any adviser – a system which is open to abuse and has caused a collapse in cases going to Tribunal.

Yet the ‘transgressions’ (DWP’s own word) which are punished by this system are almost exclusively very minor matters, such as missing a single interview with a Jobcentre or Work Programme contractor, or not making quite as many token job applications as the Jobcentre adviser demands.

How did we get to this situation? Until the later 1980s, the social security system saw very little use of anything that could be called a sanction. Unemployment benefits were seen as part of an insurance scheme, with insurance-style conditions. Any decision on ‘disqualification’ (as it was called) from unemployment benefit was made by an independent Adjudication Service, with unrestricted right of appeal to an independent Tribunal. The maximum disqualification was 6 weeks, and those disqualified had a right to a reduced rate of Supplementary Benefit assessed on the normal rules.

‘Sanctions’ are almost entirely a development of the last 25 years. The British political class has come to believe that benefit claimants must be punished to make them look for work in ways the state thinks are a good idea. Yet the evidence to justify this does not exist. A handful of academic papers, mostly from overseas regimes with milder sanctions, suggest that sanctions may produce small positive effects on employment. But other research shows that their main effect is to drive people off benefits but not into work, and that where they do raise employment, they push people into low quality, unsustainable jobs. This research, and a torrent of evidence from Britain’s voluntary sector, also shows a wide range of adverse effects. Sanctions undermine physical and mental health, cause hardship for family and friends, damage relationships, create homelessness and drive people to Food Banks and payday lenders, and to crime. They also often make it harder to look for work. Taking these negatives into account, they cannot be justified.
Benefit sanctions are an amateurish, secret penal system which is more severe than the mainstream judicial system, but lacks its safeguards. It is time for everyone concerned for the rights of the citizen to demand their abolition.


David Webster’s written and oral evidence to the House of Commons Work and Pensions Committee inquiry into Benefit Sanctions beyond the Oakley Review is available on the website and and his other papers on sanctions are available via Child Poverty Action Group.
- See more at:

FOR MORE MUSIC SEE NEXT POST (will be upped in a few days)

Sunday, 8 February 2015


David Bowie / Toy

Genre: rock, classic rock
Country: UK
Year of Publishing: 2001
Audio codec: MP3
Tracks audio bitrate: 256 kbps
Duration: 1:01:58

 01. Uncle Floyd
 02. Afraid
 03. Baby Loves That Way
 04. I Dig Everything
 05. Conversation Piece
 06. Let Me Sleep Beside You
 07. Toy (Your Turn To Drive)
 08. Hole In The Ground
 09. Shadow Man
 10. In The Heat Of The Morning
 11. You've Got a Habit Of Leaving
 12. Silly Boy Blue
 13. Liza Jane
 14. The London Boys

Album (compilation)
Toy - planned for release in 2001. David Bowie album, which included re-recorded old songs as well as material that later appeared on the album "Heathen" and the accompanying b-sides. The official release did not take place.

thebasement67 notes:

During 2000, David Bowie became enthused on a new project of re-recording some of his lesser-known songs, written in the early years of his career. These re-recordings plus three new songs were to appear on a new album titled ‘Toy’ in 2001.
The release failed to materialise because Virgin didn’t own the rights to the older songs. Bowie then formed his own record label ISO, after leaving Virgin at the end of 2001, but failed to release the album, quickly moving on to write and record ‘Heathen’.

The Toy songs: Uncle Floyd (re-recorded and re-titled Slip Away) and Afraid (remixed) appeared on ‘Heathen’ (2002).  Baby Loves That Way, Conversation Piece, Shadow Man (longer with strings), You've Got a Habit Of Leaving (remixed) appeared on the associated CD singles and ‘Heathen’ 2-cd edition.

These versions offered here from the leaked torrent source in 2011, are from an early and unfinished version only available at the moment in this lossy source.

The 2014 compilation ‘Nothing Has Changed’ includes finished versions of Let Me Sleep Beside You, Your Turn To Drive (Toy) and Shadow Man.


Wednesday, 21 January 2015


Siouxsie & The Banshees

Venue: De Nieuwe Kade, Tiel, Holland
Date: July 7th 1981

Type: FM recording (upgrade)
Taper: Garagerocker
Lineage: FM via Marantz tuner > Marantz Cassette deck > Maxell Metal tape > Playback on Nakamichi BX2 (Dolby B) > Roland HD Recorder > Wav > (WeTransfer) > Audacity (splitting) > TLH > FLAC level 8 (SB Aligned) 16/44,1kHz
Running Time: 61:34
Sound Quality: 10
Original Uploader: DutchPunkOTR
Date: January 5th 2013

01. Israel  02. Halloween  03. Spellbound  04. Arabian Knights  05. Placebo Effect  06. Pulled To Bits  07. Tenant 08. Headcut (false start)  09. Headcut  10. Nightshift  11. Sin In My Heart  12. Supernatural Thing  13. But Not Them  14. Voodoo Dolly  15. Happy House*  (* transmitted during a second broadcast)

basement67 notes:
Siouxsie & the Banshees released ‘Ju Ju’ their fourth album on June 6, 1981, a record now bestowed with classic status - like their other percussion heavy release, the 1978 debut ‘The Scream’.

The Ju Ju tour was the first and only time that I saw the Banshees, I had been interested in the group since 1977, after hearing the session they recorded for BBC Radio One, broadcast on the John Peel show. Siouxsie & The Banshees were often described at that time, as the best unsigned group in London and it would not be until 1978, that they were taken on by Polydor records (now part of the Universal Music Group)
The European tour began on June 14th 1981 in Brussels, and ran to the end of the summer before the group flew to North America for dates throughout October and November.
This Dutch FM broadcast is an upgrade taken from a master source and includes Happy House which had not been previously available. It features seven live versions of tracks that appear on ‘Ju Ju’, only missing ‘Into The Light’ and ‘Monitor’ (the latter performed but not broadcast as were ‘Christine’ and ‘Red Light’). ‘But Not Them’ was a new track played live by the Banshees in concert, it had been written by the ‘Creatures’ (a Siouxsie and Budgie side project) after the Ju Ju sessions and the song would be eventually released on their Wild Things EP in September 1981.
This is a superb recording; the clarity highlights the extraordinary and unique guitar playing of John McGough. High-class audio equipment has been used, it is hiss free and doesn’t sound compressed. Few recordings of this quality circulate from the early eighties and although I may be slightly biased having seen the band on this tour, this is my favourite Banshees recording from this time (1980-81). 


The Ju Ju Tour - 1981 European dates
June 14 - Ancienne Belgique, Brussels, Belgium
June 18 – Kodeljevo, Ljubljana, Slovenia      
June 20 - Teatro Massimo, Genova, Italy
June 21 - Stadio Comunale, Prato, Italy
June 23/24 - Palazzo Dello Sport, Modena, Italy     
June 25 - Aleph Club, Gabicce, Italy
June 26 - Teatro Nuovo, Turin, Italy
June 27 – Flipper, Marseille, France
June 30 - Grand Odeon, Montpellier, France
July 1 - Palace D'Hiver, Lyon, France
July 3 - Le Palace, Paris, France
July 4 - Blue Note Cinema, Luxembourg
July 7 - De Nieuwe Kade, Tiel, Holland
July 11 - Aula der Ehmaligen, Essen, Germany
July 12 – Markthalle, Hamburg, Germany      
July 13 - Kant Kino, Metropole Berlin, Germany
July 14 - Rotation Club, Hanover, Germany
July 16/17 – Paradiso, Amsterdam, Holland
July 19 – Satory Saal, Koln, Germany
July 23 – Odeon, Woolwich, London, England 
July 25 - Gaumont Theatre, Ipswich, England
July 26 – Odeon, Chelmsford, England   
July 27 - Cliffs Pavillion, Southend, England
July 29 - Town Hall, Torquay, England
July 30 - Coliseum St. Austell, Cornwall, England
July 31 - Colston Hall, Bristol, England
August 1 - Conference Centre, Brighton,
August 2 - Arts Centre,  Poole, England
August 4 - Sophia Gardens, Cardiff, Wales
August 5 - Leisure Centre, Gloucester, England
August 7 - Apollo Theatre  Manchester, England
August 8 - Lancaster University, Lancaster, England
August 10 - Centre Hotel, Newcastle, England
August 12 - Apollo Theatre Glasgow, Scotland
August 13 - Playhouse Theatre, Edinburgh, Scotland
August 14 - Ice Rink, Inverness, Scotland
August 15 - Capitol Theatre Aberdeen, Scotland
August 16 - City Hall Perth, Scotland
August 18 - City Hall  Newcastle, England
August 20 - Tiffany's Club, Bradford, England
August 21 - Assembly Rooms, Derby, England
August 22 - Royal Theatre  Nottingham, England
August 24/25 - Hammersmith Palais, London, England
August 26 - Odeon, Birmingham, England    
August 31 - Gaumont Theatre, Southampton, England
September 2 – Pavillion, Hemel Hempstead, England
September 3 - Hammersmith Odeon, London, England
September 4 - Sports Centre, Bracknell, England
September 5 - Royal Court, Liverpool, England
September 30 - Apollo Theatre, Coventry, England
(rescheduled after original date on Aug 28th was cancelled)
October 1 - Wirrina Stadium, Peterborough, England
(rescheduled after original date on Aug 29th was cancelled)

The North American tour began on October 8th at the
Commodore Ballroom in Vancouver, Canada

Tuesday, 2 December 2014

(Flac) BOOTLEGS - 2014

The recent problems with Netkups and particularly Divshare saw a large amount of download links being wiped out, for supposed copyright reasons. There is no officially released music on this blog. Posts that have been officially released have had the links removed.
I will move to a new website ( sometime in 2015. This will give me greater flexibility to include newer artists and more current recordings. More details will be made available next year.
As for the 100 greatest bootlegs, this special pre-Christmas download will be the last audio post for the year.

The blog will stay online. I had initially decided to stop posting but a fair amount of work went into finalising a short list for the latter posts and these will continue to be uploaded throughout 2015. 
Of the top ten best bootlegs, it's looking likely that four or five of them may be officially released next year and I will have to make some adjustments.
The posts with missing links have been marked and will be eventually re-upped at some point. A donation will of course facilitate a quicker response!

This special post features tracks from some of the best new bootlegs to appear in 2014. (Look on it as a sampler for the new site and an insight of what to expect)

 Last Christmas, I was planning to do a special post for blog users. The idea was to feature some of the best tracks from new bootlegs to appear in 2013. The post was abandoned because of personal circumstances, but here a year later on I have finally produced a compilation; some of the best new bootleg tracks of 2014. These selections are all from new uploads, or upgrades to the previously circulating sources.

Bootlegs 2014

01. BAND OF HEATHENS - Hurricane (5:51) live soundboard, 2013
02. BRUCE SPRINGSTEEN - Thunder Road (acoustic out-take 1975)
03. BOB DYLAN - What Good Am I? (5:02) live audience, 2014
04. ELBOW - My Sad Captains (5:58) FM radio, 2014
05. MOGWAI - New Paths To Helicon, pt. 1 (6:27) FM radio, 2014
06. GARY CLARK JR. - You Saved Me (5:03) FM radio, 2013
07. RADIOHEAD - Where I End And You Begin (4:12) live soundboard, 2003
08. THE FELICE BROTHERS - Saturday Night (3:54) live soundboard, 2013
09. THE HOLD STEADY - The Only Thing (4:43) FM radio, 2014
10. PEARL JAM - Just a Girl (4:19) studio out-take 1991
11. THE WAR ON DRUGS - I Hear You Calling (4:47) FM Radio, 2014
12. MIREL WAGNER - Taller Than Tall Trees (4:26) FM Radio session, 2014
13. NICK DRAKE - Hazey Jane 1 (4:43) demo, 1968-69
14. RYAN ADAMS - I Want To Know What Love Is (6:25) FM Radio session, 2014

track notes:

1. BAND OF HEATHENS - Hurricane (live soundboard 31st October, 2013)
Taken from a performance at the High Watt in Nashville, Tennessee on Halloween last year. The band played the complete ‘Damn The Torpedoes’ album by Tom Petty & The Heartbreakers. They also covered Bessie Smith and Ain’t No More Cane (traditional) by The Band. The selected track is a group composition.

2. BRUCE SPRINGSTEEN – Thunder Road  (out take April 1975)
From ‘E Ticket Revisited’ a new JEMS transfer, of the original tape that was used for the famous bootlegs ‘E Street’ and ‘Born In The Studio.’ A Record Plant studio take, performed solo ‘Nebraska’ style

3. BOB DYLAN - What Good Am I? (live 5th April 2014)
From the 5th night of the spring 2014 Japanese tour, this superb audience recording is by Hide. An 'Oh Mercy' song that improves with age and fits Dylan’s cracked and worn vocals to a tee.

4. ELBOW - My Sad Captains (live 19th March, 2014, broadcast on the 20th March)
Live at the Club 69 in Antwerp and taken from an FM broadcast by Studio Brussel. My favourite song from Elbow’s first number one album ‘The Take Off And Landing Of Everything.’ Guy Garvey gives it a tour-de-force vocal performance, backed by a sensational horn section.

5. MOGWAI - New Paths To Helicon, pt. 1 (live 1st February, 2014, broadcast on 9th February)
Another Studio Brussel FM broadcast, this one from Ancienne Belgique. Helicon first appeared way back in 1997 as a 7 inch single, now very rare and collectable. The passing years have in no way diminished the potency of its aural power.

6. GARY CLARK JR. - You Saved Me (live 16th November, 2013)
Another FM broadcast, from Gary’s set at Terminal 5 in New York. His new ‘Live’ album is superb but this song does not appear on it. Not just a bluesman, here he showcases his soul influences and R&B style. The radio station didn’t seem that impressed; they faded it after the five-minute mark.

7. RADIOHEAD – Where I End And You Begin  (live 13th August, 2003)
An upgrade to what has previously circulated. This is amongst the best sounding Radiohead live recordings from the 2003 US tour. Recorded at the Tweeter Centre in Mansfield, Massachusetts on 13th August. It has great stereo separation, especially noticeable on the percussion of this track.

8. THE FELICE BROTHERS - Saturday Night (live soundboard 30th May, 2013)
From a superb soundboard recording at the Shepherd's Bush Empire in London last summer

9. THE HOLD STEADY - The Only Thing (live 14th March 2014)
Broadcast on WFUV-FM (Bronx, NY) from SXSW, Austin, Texas. A short thirty-nine minute broadcast that included four songs from the new album ‘Teeth Dreams.’ Suitably impressed after hearing them, I bought tickets to see the band for the first time. Their brilliant live guitar attack did not disappoint.

10. PEARL JAM – Just A Girl (unreleased out take 1991)
Recorded during the 1991 sessions for Ten but dropped from the final running order. The version on the Ten re-release is a demo from 1990. Selected from the JWB remaster, Early Ten: Demos and Roughs

11. THE WAR ON DRUGS - I Hear You Calling (Radio session 29th October, 2014)
Rating highly in the end of year album polls, their third and latest album ‘Lost In The Dream’ is a classic in the making. The songs have a disarming, floating ambience that quickly gets under your skin. This French radio session track is a cover of a Bill Fay song, released on his second album in 1971. Like his peer Nick Drake, he sold few records at the time but has more recently gained a growing reputation and following amongst a younger generation of musicians and fans.

12. MIREL WAGNER - Taller Than Tall Trees (Label Pop FM Radio Session - 16th Sep 2014)
When I first heard Mirel, her music seemed familiar - PJ Harvey, Cat Power etc. came to mind but there was something else I couldn’t quite put my finger on. When I listened to her albums, especially the debut I realised the impact of Leonard Cohen, on her music and vocal style.

13. NICK DRAKE - Hazey Jane I (demo - Hampstead, London 1968-69)
A sparse unreleased demo of the song, that would appear on ‘Bryter Layter’ Nick’s second album. There it had a string arrangement by Robert Kirby and accompaniment by the two Dave’s, Pegg on bass and Mattacks on drums. Here it’s just Nick on vocals and acoustic guitar. Selected from the ‘A Day Gone By’ bootleg released by Rover Records.

14. RYAN ADAMS - I Want To Know What Love Is (Radio Session, World Cafe - 9th Sep, 2014)
This is a song that I’ve never liked much until now, it was too bombastic and drenched in Eighties excessive production techniques. But here on this radio session performance, Ryan strips it to the bare bones and accompanied by superb drumming by Freddie Bokkenheuser, he completely reinvents the song

compiled by thebasement67
for the 100 Greatest Bootlegs blog (December 2014)

No alterations were made to the these tracks apart from a few fades and edits. Some variations in volume levels maybe apparent, be aware if you are listening on headphones.


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Tuesday, 18 November 2014


I received the following email from Divshare after asking why the links were not working

“Unfortunately we had to deactivate your account downloads, as you're uploading and distributing copyrighted content. We received several DMCA take-down notices from the right holders for files on your account.
This is illegal and violates our Terms of Service, which you have accepted when signing up for DivShare. The account will be closed and all files removed.”

DivShare Support

Note that I was given no chance to remove the offending posts (there was no officially released music), let alone be told which ones they were. Meanwhile the authorities turn a blind eye to the vast quantities of bootlegs being advertised and sold on Amazon.

BOB DYLAN - Rolling Thunder Revue, 1976 [DVD] £12.46 with free postage!!!!
TOM WAITS - SXSW, Austin, TX March 20, 1999/ Austin City Limits 1978, 2 CD's+DVD set only £39.98!!!!
The BEATLES - Let It Be DVD £34.98 shame no free postage this time!!!!

This means that 20 bootlegs have no working links (listed below). The next post will be a special Christmas post of selections compiled from the best new boots of 2014.

NIRVANA  Vienna 1989
CAT POWER  Peel sessions
JOE STRUMMER London 2002
THE CURE  Paris 1982
PORTISHEAD Blackpool 1995
VAN MORRISON Choppin’ Wood
LUCINDA WILLIAMS Bowery Ballroom 2003
PATTI SMITH Bottom Line 1975
DOORS Isle Of Wight 1970
BEATLES Esher Demos 1968
BOB MARLEY Kingston Dub
MOGWAI Reading Festival 2001
NEW ORDER Reading Festival 1993
RADIOHEAD Glastonbury 1997
THE JAM Boston 1982
SPECIALS Amsterdam 1980

Sunday, 9 November 2014

(Flac) BEATLES - Get Back acetate 1969

THE BEATLES - GET BACK (Glyn John’s First Compilation)
The ‘Elektra’ Acetate (Stereo) 1969
Heleter Skelter Records (2012)

01. Get Back (False Start)
02. Get Back
03. I've Got A Feeling (False Start)
04. Help (Partial Jam)
05. Teddy Boy
06. Two Of Us (False Start 1)
07. Two Of Us (False Start 2)
08. Two Of Us
09. Dig A Pony (False Start)
10. Dig A Pony
11. I've Got A Feeling
12. The Long And Winding Road
13. Let It Be (stereo)
14. Don't Let Me Down (stereo)
15. For You Blue (False Start)
16. For You Blue (stereo)
17. Get Back (stereo)
18. The Walk (stereo)

In late summer 1969 and throughout that autumn, tape copies of one of Glyn John's acetates of Get Back were aired by a number of American radio stations, including WBCN in Boston. WBCN obtained a reel-to-reel tape of an acetate and broadcast the tape on 22 September 1969. The broadcast was preserved on another high-quality reel by a listener. At the end of 1969, the recordings turned up on The Beatles' first bootleg release titled Kum Back and has been a staple in The Beatles' bootleg canon ever since.

In 2012, the Elektra Acetate was shared on torrent sites, blogs and on forums around the net, this is the earliest version of Glyn John's first Get Back compilation from early 1969.
The acetate features the same stereo mixes that were famously broadcast on US Radio in 1969, later leading to the bootlegs 'WBCN Get Back Reference Acetate' (Yellow Dog) and 'Posters, Incense and Strobe Candle' (Vigotone). Both of these discs had their problems, noise reduction for one, seriously damaging the high frequencies, and also some pretty bad low frequency hum.

This new source is far superior but the problem with this new Elektra Acetate however is that it is noisy, very noisy, suffering all of the problems you would expect from a 50 year old acetate. So for this Helter Skelter release, unlike other variations circulating, no noise reduction was used. It was painstakingly de-clicked, de-popped, and de-crackled each track one-by-one, putting the integrity of the music above anything else - leaving a very enjoyable listen, of what is a very important historical recording. Added also are the stereo elements that were missing from the acetate, taken from the Yellow Dog disc (only a section of dialogue), some tracks are available in longer form in mono with extra studio chat, but this is simply stereo only.
The disc has been pitch, phase and level corrected and the peak limiting applied to the original disc undone.

This is my first upload to Mega, hopefully this will avoid some of the problems with Netkups that have affected blog users. 

As for the name 'Elektra' acetate it could be a bad translation of Electrola. German pressings of records between 1972 to 2002 bore the name EMI Electrola. These pressings may have been imported to Japan and the original Japanese bootleggers familiar with that name instead of just EMI, translated it incorrectly.

The following information below is from:

It has been commonly believed, based on John Barrett's research and Mark Lewisohn's Beatles Recording Sessions, that Beatles' producer, Glyn Johns, made his first mixes of the Get Back material on 10-13 March 1969. However, further research by Lewisohn (in Chronicle) and evidence on the film crew's Nagra reels reveals that Glyn actually did the mixes during the latter part of the Get Back sessions in January 1969. The March date apparently being when the master reels were logged at E.M.I. Subsequently, acetates were cut from Glyn's first mixes. Apparently, no photos of the acetates seem to exist and it is not commonly known where any of the acetates are today.

This compilation, surely, was never intended for release. It was merely a reference mix to see how the recordings sounded on record and for The Beatles to take home and listen to. This mix is significantly different than the "final" mixes. It's noticeably less processed both in terms of editing and the use of reverb. It also includes an otherwise unavailable version "Get Back", a short cover of Jimmy McCracklin's "The Walk" and a variety of other audio snippets found nowhere else from a master tape. The acetates were probably cut late 30 January 1969 at Olympic Studios. Many of these performances (with new mixes) were, subsequently, chosen for all versions of Get Back. See the 11 March date in Recording Sessions for a description of these mixing sessions. What's noticeable here, though, is that this is far and away the best sounding tape of this material you're ever likely to hear.

I have noted Doug Sulpy's DDSI identifcation numbers.
The mixes used on the acetate are in red text.

E69738 Z
Originally listed by Lewisohn as 10 March 1969. Listed by Barrett as 11 March 1969.
Actually mixed in 90 minutes on 24 January 1969
Get Back (false start) (not listed by Barrett)
23.79 Get Back (noted by Barrett as 'G. MARTIN 10 Mar 1969')
I've Got A Feeling (fragment) (not listed by Barrett)
23.81 Help (fragment) (not listed by Barrett)
24.33 Teddy Boy
24.48 Two Of Us (fragment) (not listed by Barrett)
24.69 Two Of Us (with a false start not numbered by Sulpy)
22.70 Dig A Pony
22.71 I've Got A Feeling (not listed by Barrett)
(Noted by Barrett as 'GLYNN JOHNS G. MARTIN MIXES!'
A playback of this reel can be heard on Nagra reels 453-454A. The acetate appears to include all the audio from this reel)

E69739 Z
Originally listed by Lewisohn as 10 March 1969. Listed by Barrett as 11 March 1969
Actually mixed in 90 minutes on 26 January 1969
The Long And Winding Road
(This take formed the basis of the released version)
Let It Be
22.60 Don't Let Me Down
(A playback of this portion of the reel can be heard on Nagra reel 502A)

22.58 Rocker
22.59 Save The Last Dance For Me
(In Recording Sessions, Lewisohn seems to indicate that these two performances are mixed here. He originally dated the mixes as 10 March 1969 and sequenced them in this position among the other mixes. There should be room for them on the reel however, no other evidence has surfaced to indicate they are on this reel. Barrett does not list them. No playbacks are heard on the Nagra reels)

Probably mixed 27 January 1969
For You Blue (with two false starts)
27.63 Get Back
(This is the take that formed the main portion of the single mix. It could also be assumed that this mix also includes the end fragment found on the obscure bootleg, O.P.D. and disc 8 of The Get Back Journals 1.
Get Back (Barrett only list "Get Back" once)
27.72 Get Back
(Apparently, Glyn felt these two mixes of "Get Back" were inferior and chose to exclude them from the acetate)
The Walk (listed by Barrett as "When You Walk")
(Lewisohn makes no note of this mixing session but a playback of this portion of the reel can be heard on Nagra reel 1113B at the beginning of the 28 January session. Surely the mix was done the previous evening)