Thursday, 27 March 2014

(FLAC) THE BLUE NILE - The Bottom Line, NYC. 1990

The Blue Nile
The Bottom Line
New York City
July 23, 1990

The Blue Nile have variously been described as adult alternative pop, dream pop, alternative rock, ambient folk and synth pop, all of these terms vainly try and box the group’s music into a particular genre. What can be said without any doubt is that in the 1980’s they released two absolute classic albums: A Walk Across The Rooftops (1984) and Hats (1989)

This show can be considered as part one of an unofficial trilogy of live recordings from 1990 (Manchester and Glasgow are the others) and is taken from either a soundboard or an FM broadcast. (lineage details included with the notes are vague)
The group began their first ever tour with dates in the USA before returning home for their debut UK tour in September, ending with two shows at the Royal Concert Hall in their native city of Glasgow.
The performance and sound quality of this recording is superb and while no live recording can ever compete with the recorded perfection of the two previously mentioned albums, this show comes pretty damn close. Of the fourteen tracks spread over the first two releases, eleven are included here, six from Hats and five from the debut album, A Walk Across The Rooftops, closing in fast on it’s 30th anniversary release date.

01. A Walk Across the Rooftops
02. Tinseltown In The Rain
03. Heatwave
04. Over The Hillside
05. Stay
06. Easter Parade
07. band intro
08. Downtown Lights
09. Saturday Night
10. Headlights On The Parade
11. Seven A.M.
12. Let's Go Out Tonight


Glasgow's unique but extremely slow-moving (four albums in 20 years!) Blue Nile has a wealth of creative depth, building atmosphere with lots of empty space and carefully controlled conflicting musical maneuvers. The title track of the trio's first album mixes strings, horns, drum and bass with a meandering, disjunct vocal for something like a blend of Robert Wyatt, Joni Mitchell and John Cale. Although A Walk Across the Rooftops isn't easy to love, at its most accessible point ("Stay," which actually has a chorus and more of a verse melody than the others), it's quite appealing.
Hats was five years in the making, but the band's relentless perfectionism paid off: the seven songs are as dense and moving as a midnight sky. With sweeping synths and the pristine click of electronic percussion, "The Downtown Lights" and "Over the Hillside" are moody like film music, while "From a Late Night Train" and "Saturday Night" are impressionistic vignettes that creep along in slow motion. There's hardly a guitar or live drum to be heard, but seldom has studio technology been used to such warm and personal results.
A vast seven-year gap yawned between the Blue Nile's second and third albums. During that time (part of which was devoted to the lengthy process of securing a new record deal), the perfectionists' only visible activities were one tour and three collaborations. They recorded a cover of Mitchell's "Big Yellow Taxi" on Clannad vocalist Màire Brennan's Misty Eyed Adventures, a live British B-side with Rickie Lee Jones, and "The Gift," a song the threesome co-wrote with Annie Lennox for her Diva album; Lennox certified her satisfaction by including the Blue Nile's "Downtown Lights" on her Medusa collection.
Recorded (somewhat tellingly) in Los Angeles, Peace at Last is by far the atmospheric group's most diverse, accessible and fully realized work. Generally more upbeat and conventional than the first two, the album uses vastly different instrumentation — acoustic guitars, strings, even a gospel choir on "Happiness" — yet retains the group's distinctive melancholy, panoramic feel. The pop ideas explored rather clumsily on Hats are infinitely more assured here; while the horn-speckled "Sentimental Man" summons fearsome visions of Phil Collins, "Body and Soul" slithers brilliantly on- and off-beat, showing how thoroughly the group has managed to integrate groove into its sound. Although the unmistakable whiff of centrist tendencies imbues the proceedings — there's even a lump-in-the-throat Christmas ballad called "Family Life" — Peace at Last is a natural and dramatic progression.
Between Blue Nile releases, frontman Paul Buchanan lent his distinctive vocals to several outside projects, including Peter Gabriel's OVO, smooth jazz trumpeter Chris Botti's Midnight Without You and composer Craig Armstrong's The Space Between Us.
After another eight-year pause, the Blue Nile finally returned with High, abandoning the more organic trappings of Peace at Last in favor of the lush, synthesized feel of Hats. High is the first Blue Nile album that makes no significant stylistic advance over its predecessors but the best moments are true to the band’s essential qualities. (The lesser moments suggest its signature sound could ossify into formula.) Buchanan’s characteristically bittersweet lyrics return to familiar themes: the drudgery of the workaday world and relationships both good and bad. "Because of Toledo" stands out in part due to an arrangement that is little more than acoustic guitar and Buchanan's voice. "Broken Loves" deftly delineates a difficult father/son relationship while expending a fair amount of musical energy running in place. "She Saw the World" and "Everybody Else" make more focused use of that energy. "I Would Never" and "Days of Our Lives" recapture the languid grace of earlier songs like “Over the Hillside.” But the title track's lyrical search for transcendence is undercut by a prosaic chorus.
"I Would Never" was released as a CD single, with cover art depicting three straw hats. The single adds two tracks that predate A Walk Across the Rooftops. "I Love This Life" brims with youthful enthusiasm in strong contrast to the often complicated grown-up concerns of their later work. "The Second Act," an early B-side previously unreleased on CD, shows a developing band that hasn't quite arrived at its signature sound.
Since the release of High, Buchanan has continued to collaborate with other musicians: he sang on Aqualung's Memory Man album and co-wrote a song on the 2010 Magnetic North release. His vocals are also featured on "Sleep" from Texas' 2006 Red Book album.
Buchanan returned in 2012 with Mid Air, a solo album of elegiac ballads. While many of these short songs (most clock in under three minutes) are individually excellent, they are too much alike to make it a strong album. Buchanan is a master at creating a mood of ephemeral beauty, but the arrangements vary little: he croons gently over simple piano accompaniment that often traces the melody line, while synthesized sweetening fleshes out the sound. The Blue Nile used this approach fruitfully on tracks like “Easter Parade,” “Because of Toledo,” and “From a Late Night Train,” surrounding them with contrasting fare. Mid Air cries out for similar variety, but only the lovely orchestral instrumental “Fin de Siecle” breaks form. This particular whole is not greater than the sum of its parts, beautifully wrought though the parts are. “Cars in the Garden” and “I Remember You” are among the high points. The 24-track edition contains several alternate versions, including a pair of remixes credited to Blue Nile’s Robert Bell. (Trouser Press)

Wednesday, 19 March 2014

(Flac) BLACK SABBATH - Asbury Park, NJ. 1975

Black Sabbath
Convention Hall, Asbury Park NJ.
August 5, 1975

Soundboard Recording
Reel To Reel (Master) > CDR(2) > EAC > WAV > FLAC(8)


A highly respected Sabbath collector contacted King Biscuit to inquire about the full release of their 1975 show, which was thought to be from Philadelphia by most people at the time. King Biscuit had been taking requests for future releases, so this was a completely legitimate request. Their initial response was that the show "wasn't good enough". But once the KB engineers had a listen to the tapes, they quickly discovered how wrong their assessment was. One of them even asked the collector to identify a song for them. It turned out to be "Spiral Architect"! Also, the tapes were identified as being from the Asbury Park show, not Philadelphia as previously thought. (
The King Biscuit kindly sent the collector a complimentary copy of the show, since there were now plans to release it officially. But when he tried to follow up on this release a few months later, the King Biscuit employee no longer worked there and the release was apparently nixed. And it was from this 'advance promo' that the slew of Asbury Park bootlegs originated from.

A compromised 2cd set called ‘Past Lives’ was finally released comprising selections from three separate shows recorded between 1973 and 1975
This stereo soundboard recording began circulating in 2001 and is taken from the master tape, made for broadcast as mentioned above. It captures the band at the beginning of the ‘Sabotage’ tour with the classic line-up of Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward.
This is the full unedited show from Asbury Park originally heard on bootleg under such titles as “Heaven And Earth,” “Sabotaged,” “Accidental Overdose” “Let Slip The Pigs Of War and Dying To Live.

Disc 1
1. Killing Yourself to Live
2. Hole in the Sky
3. Snowblind
4. Symptom of the Universe
5. War Pigs
6. talking
7. Megalomania

Disc 2
1. Sabbra Cadabra
2. Supernaut
3. Iron Man
4. Orchid > Rock & Roll Doctor > Don’t Start (Too Late)
5. Black Sabbath
6. Spiral Architect
7. Embryo > Children of the Grave
8. Paranoid
As a live document of the Sabotage tour, there is, at this time, simply nothing better available. The recording opens with a stomping version of "Killing Yourself To Live". It’s an angry performance with Ozzy's vocals having a bluesy quality and sounding positively enraged at certain points. The song has a grim message, without a doubt. Unlike those that came from later eras of the band, the grim darkness that shrouds the lyric of this is firmly grounded in reality. The sense of helplessness and futility ("You work your life away and what do they give? /You're only killing yourself to live") in these words has an universal quality that I think nearly anyone can relate to. I can't help but remember the background of Terry "Geezer" Butler when I listen to these lyrics. I can see the darkness of a steel town like Birmingham and the blackened faces of factory workers enduring brawling, blighted lives. Geezer's righteous indignation at the injustices of the world is expressed better in other songs, so in a sense this song is a variation on the traditional Sabbath theme of alienation from the mainstream world but also a satisfying and acceptable musical statement. And its suitably energetic performance by the band makes for a rousing opener as well.

Following new song “Hole In The Sky” is "Snowblind". Ward counts the band in and they launch into the magisterial, grinding riff. Many may find this dull and ponderous, but I hear a simple but epic musical number that carries the listener away to an entirely different mood. It’s a mood set by Iommi's guitar, the focus of power, around which the vocals, instruments, and lyrics swirl. From the first time I heard Iommi's beautiful, brooding blues guitar, I responded to its sound immediately, it’s meditative, soaring peaks and its dismal valleys. It sounded primordial, like the vivid essence of what rock guitar should be, technically simple but emotionally vast. Iommi learned his lessons from early American rock 'n' roll and its earlier blues roots just as every other British guitar hero of his generation did. His playing always exhibited a commitment that you could hear in every note. Its 'sincerity' remains unquestionable in my eyes. And that commitment and emotional depth is what I respond to even today. The crash and burn in this song is extraordinary. Tony leads the band from one crushing section into another in a consistently dramatic fashion and his playing is wonderfully inspired.

Speaking of the dramatic, "War Pigs" begins with a raucous squeal from Iommi before the band lurches into the intense and melancholy opening. The second section again shows why no other rhythm section has ever inspired Tony to the outermost limits of his ability like Geezer and Bill did. Bill, in particular, astounds me. He drives this band at times with his tremendous sense of feel and his creativity. And the chemistry between Bill and Geezer is undeniable. Probably the busiest bass player of his time, outside of Jack Bruce, he plays fluid, swinging lines that demonstrate more empathy with and support Tony's guitar work in a myriad of ways that a rhythm guitarist could never hope to match.

"Sabbra Cadabra" opens at full throttle and it's boogie Sabbath playing a relentless, warped, and very individual take on the classic rock 'n' roll subject of passion for a woman. The band establishes an impressive groove that centres around the rhythm section with Tony's incendiary licks laid over the top of it all. And, by god, he was never the most talented vocalist in the world, but Ozzy was putting everything he could into his vocals here and I appreciate that much more than his voice cracking could ever displease me. And it cracks a lot in this song and throughout the entire concert. Technical brilliance in music should be respected, but I could care less whether Ozzy can hit and sustain high notes, never slip out of key, and astound with his sweet dulcet tones. His voice is full of grit, reality, and character here. It is one of the classic rock voices, never pretty, but cawing, insistent, and unstoppable. He spits out the lyrics to this song with interest and authority and grabs a hold of the band as only a strong front man can.

The jam that follows the song is often just flat out brilliant. There are some riffs within this musical exhibition that show how heavy Sabbath could still be in 1975 and how some of their experimentation with new sounds were beginning to hit the mark in quality. Of the latter, the slightly funky, meandering jam with Geezer's distinctive wah-wah bass sounds incredible to these ears and one can only wonder what that jam could have turned into if the band had turned its full attention to it in the studio.

The slow, brooding blues of "Sometimes I'm Happy" starts. The gloomy swing of the music belies the romance and cheerfulness of the lyric. It was a definite departure from the typical Sabbath song in this era, but the lyrics are primarily, ornamental and serve as an open-ended structure designed to allow room for improvisation from show to show. Ozzy sings the lyrics with ugly, full-on passion. Ward and Butler shine again here as they establish a slow, slinky groove that is the absolute highlight of this particular performance.

Ozzy introduces Bill Ward and his drums take over. Drum solos can be brutal, interminable affairs with little redeeming musical value. The best examples of drum solos are short excursions that most often lead into the next song; we get that here. Ward shows off his distinctive, upbeat jazzy patterns and also the raw, angry power that kept Sabbath in good stead for over a decade.
The band segues into "Supernaut" with a piercing squeal. Ward is a dynamo on the sticks as the band delivers here with a towering, aggressive performance. Ozzy is again going full out here; the stress he is subjecting his vocal chords to is obvious.

The band backs away again and leaves Ward alone again to wail on his kit. After a brief drumming exhibition, Ward begins to pound out the rudimentary opening beats of "Iron Man" and Ozzy says to the crowd, "Guess what?" What a joker. The guitar comes in and it sounds slightly out of tune, but the band soldiers on and this version rises up from the pack on the strength of the band's interplay tonight. It could have fallen completely apart, but it doesn't. Instead Sabbath plays it with vengeance and authority, like the garage band to end all garage bands, and anything unusual about the performance begins to pale in comparison to the intimidating head of steam that the band builds. The band blows up in the final section and unleashes a barrage of its gloomy, angst-ridden industrial metal before they collapse into a brief Iommi solo.

At this point, we have our intermission, and the band plays a tape of "Changes" for the crowd's benefit.

The brooding, baroque notes of "Orchid" begin and it is played with lovely touch and restraint. Like many bands of this genre in this era, Sabbath made a conscious attempt to utilize both spectrums of light and dark, soft and heavy. These experiments, while noble, often resulted in some of the more obscure filler tracks on the studio albums.

Iommi's heavily distorted guitar returns and, after briefly noodling, Iommi begins to play an embryonic form of "Rock 'n' Roll Doctor" that was taking shape during the extended jams of this tour. The groove isn't quite there yet, but they have the song and, even in its early form, it shows promise as a strong rocker firmly in the Sabbath mould. Once they finish however, the band disappears and what we end up with is Iommi playing flurry after flurry of notes in a largely nonsensical, forgettable fashion. He finishes by playing a fast version of "Black Sabbath’s intro before the band segues into the main riff of the song with a roar. This performance here makes full use of the song's primal theatre. This is a committed band playing with absolute authority and the song ends up being yet another strong performance in a night full of them.

"Spiral Architect" is one of the more ambitious songs on an album that reeks of ambition. The less said about the lyrics, the better. Geezer tries in seemingly every line to break through to some higher level of emotion and thought, but the result is a collection of obscure, pseudo-poetic lyrical conceits that communicate little to the listener but a sense of bafflement. Only during the bridge do the lyrics reach clarity and speak to the listener directly, simply, and emotionally. Oddly, Ozzy's energetic wail largely redeems the weaknesses of the lyrics and he is obviously there with every word. There's a critical difference between the Ozzy's vocals in this era and his vocals in the concerts that followed Sabbath's reunion years later. It isn't really chops. The word is commitment and Ozzy has it here in spades. Churning and crashing around him is a band that executes well and moves effortlessly through the song's many tempo changes. Iommi's guitar sounds brittle and sharp here, but it works as he plays vicious, slashing chords and notes that demand to be noticed. This is a performance from a band that wasn't locked into an image and was a real band intent on pushing their sound and song-writing into new areas and if the new material doesn't entirely succeed live, which it doesn't, it's a noble and interesting failure.

Before introducing “Children of the Grave” Ozzy splutters out his typical spiel about love to the audience but it doesn't sound much like love when the song begins. Tony rushes the intro and when the relentless, immortal opening riff begins, you understand immediately that Tony was pumped to play this song. He attacks the riff with focused, undeniable aggression and leads the band through a rampaging, raucous version of this song that features Ward playing with wonderful abandon. The frantic energy that the entire unit brings to the song implies the dire messages of impending doom that the lyrics hold. Ozzy doesn't sound like he's trying to cajole the youth of the world into gentle revolution; he sounds angry and his tone is soaked with rage and condemnation. It's a wonderful performance.

It's time for the encore "Paranoid", but it’s apparent from the first note that the energy from the previous performance has carried over into this song and the band establishes a dominant, authoritative groove as they rip through it with sledgehammer like intensity. It provides us with a thunderous close to a show that only grew in momentum from the first number to the last. (review by Jason Hillenburg)



Monday, 10 March 2014

(Flac) PJ HARVEY - Europe 1993

P.J. Harvey – Europe 1993
Recorded live at the Forum in Kentish Town, London on May 23, 1993

Following this tour in support of the release of the second album Rid Of Me, Polly performed in mainland Europe and returned to the USA and Canada for her third tour of North America. July saw her debut appearance in Japan. A week after returning home she began a support slot on U2's Zoo TV tour, these were her first stadium appearances.
This show was released in 1993 on an Italian bootleg label Redline and sourced from an excellent BBC Radio One FM radio broadcast, recorded for the John Peel show. It was also released by Live Storm in 1994, again another Italian protection gap release. A loop-hole in the law was exploited by bootleg companies and these were regarded as official releases at the time, until the law was changed.
The included notes have been written by a staunch PJ Harvey fan who declares it as being up there with the all time great live albums such as Motorhead's No Sleep 'Til Hammersmith and the MC5's Kick Out The Jams. Unlike those it remains unreleased although some footage of the performance appeared in a long out of print VHS video tape. It's a stunning performance with a surprising first track for the unaware.

1    Man-Size Sextet (3:13) 
2    Rid Of Me (4:50) 
3    It's Rolling (4:14) 
4    My Dreams Will End With You (2:56) 
5    Highway '61 Revisited (Dylan) (2:51) 
6    O Stella (2:26) 
7    Dress (3:24) 
8    Rub 'Till Bleeds (3:55) 
9    Missed (4:44) 
10  Victory (4:32) 
11  Sheela-Na-Gig (3:32) 
12  Time Machine (3:06) 
13  Me-Jane (3:21) 
14  Snake (1:40) 
15  50ft Queenie (3:43) 
16  Man Size (3:51)

Bass – Steven Vaughan
Drums – Robert Ellis
Guitar, Vocals – P.J. Harvey


Thursday, 13 February 2014

JONI MITCHELL - The Hissing Of Summer Lawns Demos

Joni Mitchell
Hissing Of Summer Lawns Acoustic Demos
Unreleased studio recordings
Spring 1975
Venue unknown, possibly A&M studios, Hollywood, CA
Running time 36:43

This is a repost, if you downloaded originally from here this is the same version. If you have downloaded this from elsewhere, check you have this upgraded version as it is superior quality compared to previous editions.
These unreleased demos and working versions appeared in a radically different finished form on the Hissing Of Summer Lawns released in November 1975.  On the album Joni had continued her change in musical direction begun on Court And Spark (1974), away from her folk stylings towards jazz and what we would now label world music.
The tracks recorded on these demos are performed mainly on acoustic guitar and piano, giving these stripped down versions a feel similar to the albums Blue, For The Roses (1972) and Hejira (1976).  Missing from this collection of demos are The Jungle Line, Don't Interrupt The Sorrow and the album's title track The Hissing Of Summer Lawns. Of the nine tracks, two did not appear on the finished album, Dreamland was omitted and finally appeared on Don Juan’s Reckless Daughter (1977) in its completed form, Hunter is an outtake from perhaps Joni’s most famous and deeply personal album Blue (1971).
These demos also circulate as the Seeding Of Summer Lawns; same track-listing, different artwork, the version included here was pitch level and phase corrected by the Remasters Workshop, November 2009

1. Harry's House

2.  Edith and the Kingpin
3.  In France They Kiss on Main Street
4.  Sweet Bird
5.  Shades of Scarlett Conquering
6.  Shadows and Light
7.  Dreamland
8.  Boho Dance
9.  Hunter (The Good Samaritan) from Original Blue

original notes below:

Joni Mitchell

Hissing Of Summer Lawns Acoustic Demos

Unreleased Studio Recordings

Lineage: Unknown, believed to be a bootleg LP pressing or sourced from a low gen cassette tape copy > DL'ed FLAC files > WaveLab 5 (fixed a few very small pops (skips) in a couple of tracks, smoothed and evened out the lead-in between a couple of tracks) > WAV > FLAC (level 8, align on sector boundaries) > TLH > Upload

From jmdl site:
Joni went into the studio in the spring of 1975 to record acoustic demos of some songs she'd written. These tapes included an early version of "Dreamland," a song that 2 years later would appear on the album 'Don Juan's Reckless Daughter'.

A few months later she recorded band versions of the tunes with most of the same musicians she employed on 'Court And Spark'. This song cycle was released in November 1975 as the album 'The Hissing Of Summer Lawns'. The LP was a big seller and peaked at #4 on the Billboard album charts.
But, generally, the album was greeted less than enthusiastically. The fact that Joni had ceased being the confessional sin-eater, and had turned her razor sharp observations outwards to society, was not what fans and critics expected or wanted from her. This was probably the first time that an musical direction of Joni's had been questioned, and it really wounded her. She still talks today of the sting she felt at those bad reviews. But. in reality, there were also quite a few good notices for the album.

Joni joined up with Bob Dylan's Rolling Thunder Review as it traveled thru North America, and she performed at a few shows in late November and early December including stops in Boston and Toronto.
Before Christmas 1975, plans began for a tour to promote 'The Hissing Of Summer Lawns', which was selling briskly. The L.A. Express were grabbed up and convinced to embark on a second tour with Mitchell to begin in January 1976.
often packaged with filler on bootleg versions, these are the demos only and they sound wonderful. I have included as a bonus the song "Hunter (The Good Samaritan)" originally scheduled for 'Blue' here, because it is the only track from "The Original Blue" that was never released. "Dreamland" later appeared on 'Don Juan's Reckless Daughter' in a studio version, but the stripped down version here is especially appealing. The official album is one of Joni's underrated gems. Buy it and give it a second chance.
Thanks to Les Irvin webmaster at Joni Mitchell Discussion List for the files and for good trading and conversation. To join in the fun, visit


All tracks pitch, level and phase corrected at Remasters Workshop, November 8, 2009.


A reviewer commented
One thing that I thought was pretty neat was that in these original demos, Joni sings parts that would eventually be played by horns, and there’s no place more evident than in the demo of Edith and The Kingpin, where each verse is punctuated by an echoing chorus, harmonizing to simulate the horns to come!" 

The layout for this post will be sorted once blogger get's it act together.

Thursday, 30 January 2014

JANIS JOPLIN - The Early Years (1963-65)

"The intense community of musicians staying at the Chelsea then would often find their way into Janis's suite with their acoustic guitars, I was privy to the process as they worked on songs for her new album. Janis was the queen of the radiating wheel, sitting in her easy chair with a bottle of Southern Comfort, even in the afternoon. Michael Pollard was usually by her side. They were like adoring twins, both with the same speech patterns, punctuating each sentence with man. I sat on the floor as Kris Kristofferson sang her 'Me And Bobby McGee," Janis joining in the chorus. I was there for these moments, but so young and preoccupied with my own thoughts that I hardly recognized them as moments...............          PATTI SMITH 1970

(taken from the book "Just Kids" .............available at all good book stores)

These recordings date back some seven or eight years before Patti's comments. The Joplin estate thinks these are not worthy of release, you be the judge of that.
If you have only heard the standard studio releases by Janis, this may come as something of a revelation.

Janis Joplin: The Early Years (1963-65)

Coffee Gallery, San Francisco, CA. (1963)
01. Leaving' This Morning (K.C. Blues)
02. Daddy, Daddy, Daddy
03. Careless Love
04. Bourgeois Blues 
05. Black Mountain Blues
06. Gospel Ship
07. Stealin'

These seven tracks have previously circulated as late 1962 and also August 1962. This is an upgraded tape and is superior to all versions that originally circulated including the fan set 'Blow All My Blues Away' It is marked as 1963 and I have used this as the date.

The Typewriter Tape, Santa Clara, CA. (1964)
08. Talk & Tuning
09. Trouble In Mind
10. Long Black Train Blues
11. Kansas City Blues
12. Hesitation Blues
13. Down And Out
14. Daddy, Daddy, Daddy

The ‘typewriter tape’ was recorded at Jorma Kaukonen’s house on Fremont Street in Santa Clara, California at the end of June 1964. The tape got its name because Jorma’s wife, Margareta can be heard in the background typing a letter home to her parents in Sweden. The recording was made because Janis and Jorma were rehearsing for a benefit show at the Coffee Gallery, Grant Street in San Francisco. (Source used was the nine disc set ‘Blow All My Blues Away’)

This is Janis  (1965)
15. Apple Of My Eye
16. 219 Train
17. Codine
18. Down & Out
19. Turtle Blues
20. I Ain't Got A Worry
21. Brownsville

The final seven-tracks come from an audition before Janis joined Big Brother & The Holding Company. The location is unknown but we know that the tapes originated from Big Brother guitarist - James Gurley.

The original recording was just Janis and her acoustic guitar, but Gurley has embellished it with a full band to make it sound like a Big Brother session.

"It's unheard Janis Joplin material, probably the best album she's done since 'Cheap Thrills. It was a work of love, I wanted it to be something, if she was looking over my shoulder, she would be proud of. I tried to keep her first and I didn't change what she did. This is what she was doing before Big Brother. I wanted to bring out that innocence before she got crazy from rock 'n' roll."

In 1996, Gurley made 100 copies and gave them away or sold some through eBay. These seven tracks later appeared on the nine-CD fan compilation Blow All My Blues Away (the source used here) that collected everything else Columbia saw fit not to release. He owns the master reel-to-reel tape but feels Joplin’s family would have something to say about any release.

Janis’s pre-fame vocal is pure blues phrasings unblemished by alcohol and drug abuse. Her original composition ‘Turtle Blues,’ is here alongside an ad-libbed own lyric version of Buffy St Marie’s ‘Codine’

original notes for the upgraded tracks 1-7

1963-xx-xx  San Francisco, California  Coffee Gallery  (M1*-SBD)
1353 Grant Avenue, North Beach

Excellent SBD recording for the era. Check samples for yer own judge & jury ear trial or jubilation anticipation. Lower generation, better quality, clearer & less distorted than what circulates on "Blow All My Blues Away" & "1962-08-10".
Circulates as late 1962, early 1963 & 1962-08-10, but this version is simply labeled "1963".

Recording Information ::: unknown mono reel-to-reel recorder -> master mono reel-to-reel -> DAT x1or2 generations -> 1st(*) analog generation TDK SA-XG 90 cassette, Dolby off. (* call it what you will).

Line-up (unconfirmed - my tape had musician information added later from another source) :
Janis Joplin - vocals
Larry Hanks - acoustic guitar, vocals
Billy Roberts - acoustic guitar, banjo, vocals, harmonica. 
(OR possibly: Roger Perkins - acoustic guitar & vocals instead of Roberts).

NOTHING here is on the "Janis" soundtrack (OST) "Early Perfomances" disc (which is clearly labeled with different years anyway) - Totally different live versions, but here's a breakdown to check easily:
"Stealin' MUCH slower than the OST & has harmonica from the start.
"Black Mountain Blues" has no piano & horns - The OST does.
"Leaving This Morning" ("K.C. Blues") MUCH slower than the OST with some lyric differences. Check the last 2 lines.
"Daddy, Daddy, Daddy" OST has NO harmonica whereas the OST has it right through.
"Careless Love" has different guitar arrangements right from the intro & ends on different words than the OST.

CoolSonics 151 ::: Thanks to the original taper & traders


compiled for: 100 greatest bootlegs
the basement67, January 2014)

Apple of My Eye

Monday, 6 January 2014

(Flac) PATTI SMITH - Musikhalle, Hamburg (Aug 1, 1996)

Patti Smith
Hamburg, Germany
August 1, 1996
FM broadcast
Patti performed for the last time as the Patti Smith Group on 10 September 1979 at the Stadio Comunale in Florence, Italy.
She was on stage for part of a benefit concert in Detroit 1980 and except for a few poetry readings in 1981 would not appear live again until a two-song performance with her husband Fred ‘Sonic’ Smith, to celebrate the 15th anniversary of Arista Records in 1990.
A benefit show in 1991 for AIDS followed and also an appearance in Central Park during 1993 but it wasn’t until 1995 that Patti again took the stage regularly. She ended the year supporting and appearing as a guest on Bob Dylan’s ‘Paradise Lost tour’ and was accompanied by original PSG band members Lenny Kaye, Jay Dee Daugherty with the addition of Tony Shanahan, Oliver Ray and Tom Verlaine.

This same line-up would perform in 1996 on Patti’s first European tour in seventeen years. The tour promoted Patti’s sixth album ‘Gone Again’ released in June 1996. This Hamburg show on 1st August was broadcast on German FM radio and the recording showcases a stunning performance with crystal clear sound and a superbly balanced stereo mix. This is an exceptional download and one of the very best in my collection.

Lineage:  Onkyo FM tuner > Onkyo Tapedeck(analog) > PC music cleaning lab > CDR > EAC > Flac > wav > Nero > wav > flac  (see original notes with download)

disc one
01. Wing (4:53)
02. People Have the Power (4:04)
03. Dancing Barefoot (5:23)
04. Summer Cannibals (4:00)
05. Wicked Messenger (4:28)
06. Ghost Dance (5:02)
07. Beneath the Southern Cross (5:36)
08. Redondo Beach (4:32)
09. Free Money (4:23)
10. About a Boy (10:02)

disc two
11. The Crystal Ship (3:13)
12. When Doves Cry / Ain’t it Strange (10:10)
13. Wild Leaves (5:39)
14. People Have the Power (2:14)
15. Gone Again (4:40)
16. Please Be My Guy (0:26)
17. Because the Night (4:00)
18. Land / Gloria (9:52)
19. Farewell Reel (3:46)



Friday, 3 January 2014

Blog Update

For the New Year an update of all posts relating to the blog's title is provided. You can easily find any title by entering the band or artists name in the search box at the top of the page.
If you have difficulty in downloading, try again at off-peak times (late at night or early morning) 


Tuesday, 20 December 2011
1. BOB DYLAN & THE BAND - "Complete" Basement Safety Tape Reconstructed

Thursday, 29 December 2011
2. JOE STRUMMER & THE MESCALEROS - Benefit Concert For Striking Firefighters Nov 15, 2002


Wednesday, 11 January 2012
3. RYAN ADAMS - Live at Das Haus (October 17, 2006)
4. CALEXICO - Roskilde Festival , Denmark (July 1, 2000)

Friday, 24 February 2012
5. DICK DALE - MSN On Air, Irving Plaza, NYC. April 16, 1997

Thursday, 8 March 2012
6. ADRIAN BORLAND & THE SOUND - 2 meter sessies (sessions)
7. RADIOHEAD - In Rainbows: Live from the Basement 2008

Monday, 12 March 2012
8. THE BEAT - Paradiso, Amsterdam 1980

Thursday, 29 March 2012
9. THE SPECIALS - Paradiso, Amsterdam 1980

Friday, 30 March 2012
10. JOHN LENNON - Listen To This Vigotone, VT-175

Sunday, 8 April 2012
11. THE JAM - Live In Boston 1982 (pre-fm)

Monday, 9 April 2012
12. RADIOHEAD - Glastonbury Festival, England 1997

Thursday, 12 April 2012
13. NEW ORDER - Reading Festival 1993

Sunday, 29 April 2012

Sunday, 6 May 2012
15. THE DOORS - Isle of Wight 1970

Monday, 14 May 2012
16. MOGWAI - Reading Festival 2001 (pre-fm)

Sunday, 27 May 2012
17. PATTI SMITH - Live At The Bottom Line NYC. 1975

Sunday, 3 June 2012
18. LUCINDA WILLIAMS - Bowery Ballroom, New York 2003

Thursday, 14 June 2012
19. ROLLING STONES - live at Oakland Coliseum, Oakland, California November 9, 1969 (2nd show)

Friday, 22 June 2012
20. VAN MORRISON - Choppin' Wood

Sunday, 1 July 2012
21. BOB DYLAN - Sydney, Australia April 13, 1966

Thursday, 5 July 2012
22. SMASHING PUMPKINS - bbc in concert #581 (Manchester 1993)

Wednesday, 11 July 2012
23. PORTISHEAD - Live at Tower Ballroom, Blackpool 1995

Wednesday, 1 August 2012
24. THE CURE - L'Olympia, Paris (June 7, 1982) 

Saturday, 11 August 2012
25. THE BEATLES - Esher Demos

Tuesday, 21 August 2012
26. LITTLE FEAT - Electrif Lycanthrope - Ultrasonic Studios [WLIR], Hempstead, NY. 1974

Wednesday, 22 August 2012
27. THE ROLLING STONES - Leeds University 1971

Saturday, 1 September 2012
28. CAT POWER - Peel Sessions (a new complete edition upgrade will be posted)

Friday, 7 September 2012
29. NIRVANA - Live at U4, Vienna 1989

Sunday, 23 September 2012
30. BOB DYLAN - Plymouth, MA Oct 31, 1975

Friday, 12 October 2012

Friday, 16 November 2012
32. THE FALL - Sound City (1992-93)

Saturday, 17 November 2012
33. WILCO - Yankee Hotel Foxtrot Demos

Thursday, 22 November 2012
34. THE WHITE STRIPES - John Peel Show (July 2001)

Monday, 26 November 2012
35. BRUCE SPRINGSTEEN - Max's Kansas City Night 1973

Tuesday, 27 November 2012
36. RADIOHEAD - Roseland Ballroom, NYC. Sep. 29, 2011 (Soundboard)

Tuesday, 11 December 2012
37. THE JAM - 100 Club (1977)

Wednesday, 12 December 2012


Tuesday, 15 January 2013
38. DAVID BOWIE - French Affair (1999) (will be replaced with pre-fm version of KKC)

Friday, 1 February 2013
39. REM - Passaic, NJ. June 9, 1984

Thursday, 7 February 2013
40. TOM WAITS - Postaula, Bremen, Germany April 26, 1977

Tuesday, 19 March 2013
41. U2 - Salome: The Achtung Baby Sessions

Tuesday, 9 April 2013
42. ELVIS COSTELLO & THE ATTRACTIONS - Berkeley, California 1978

Sunday, 14 April 2013
43. BOB MARLEY & THE WAILERS - Kingston Dub

Thursday, 25 April 2013
44. THE SMITHS - Troy Tate mixes (Tate 2)

Tuesday, 30 April 2013
45. JEFF BUCKLEY - Glastonbury 1995

Wednesday, 8 May 2013
46. VELVET UNDERGROUND - Psychedelic Sounds From The Gymnasium – 1967 (to be replaced, now released on special box edition)

Friday, 24 May 2013 / Tuesday, 28 May 2013
47. THEME TIME RADIO with your host Bob Dylan

Friday, 7 June 2013
48. PJ HARVEY - The KCRW Sessions (2004-07)

Monday, 24 June 2013
49. THE CLASH - Another Combat Rock

Wednesday, 3 July 2013
50. BRUCE SPRINGSTEEN - The Complete Nebraska Session

Monday, 15 July 2013
51. PEARL JAM - Amsterdam 1992

Monday, 29 July 2013
52. MERCURY REV - Black Session # 290 (2008)

Thursday, 15 August 2013
53. NIRVANA - Pat O'Brien Pavilion, Del Mar, CA. 1991

Monday, 26 August 2013
54. JIMI HENDRIX - The LA Forum 1970

Monday, 9 September 2013
55 JOY DIVISION - Paradiso, Amsterdam 1980

Wednesday, 18 September 2013
56. JIMI HENDRIX - Berkeley 1st show, May 30th 1970

Wednesday, 25 September 2013
57. THE VERVE - Hultsfred Festival, Sweden, 1994

Monday, 14 October 2013
58. BOB DYLAN – Carnegie Hall  New York Oct 26, 1963 (LB-6180)

Tuesday, 22 October 2013
59. THE BYRDS – Unsurpassed Masters 1965

Tuesday 29 October 2013
60. THE WHO – Fillmore East 1968

Saturday 23 November 2013
61. THE SMITHS – Demos & Outtakes (Mixed Locations)

Tuesday 17 December 2013
62. THE CURE - Rock Werchter Festival, Belgium (1981)

Tuesday 24 December
63. THE CLASH – This Is The Home Of The Blues (Aragon Ballroom, Chicago  September 1979)

coming soon: Patti Smith