Monday, 4 July 2016

*Special Post #9* DAVID GILMOUR - The Forum, Inglewood, CA. 27 March 2016 (Flac)

DAVID GILMOUR - L.A. 3rd Night
The Forum, Inglewood, CA.
Sunday 27 March 2016

Original bootleg CD "L.A. 3rd Night" ref. XAVEL-SMS-068 (Multiple IEM + AUD Matrix Source)
MOB remaster

01. Opening S.E. (0:52)
02. 5 A.M. (3:10)
03. Rattle That Lock (5:28)
04. Faces of Stone (6:14)
05. Wish You Were Here (5:28)
06. What Do You Want From Me (4:48)
07. A Boat Lies Waiting (4:32)
08. The Blue (6:31)
09. Money (8:01)
10. Us and Them (7:57)
11. In Any Tongue (7:48)
12. High Hopes (10:12)
13. Astronomy Dominé (5:49)

01. Shine On You Crazy Diamond (10:15)
02. Fat Old Sun (6:48)
03. Coming Back to Life (7:06)
04. Band introduction (2:22)
05. The Girl in the Yellow Dress (6:13)
06. Today (7:01)
07. Sorrow (10:54)
08. Run Like Hell (11;05)
09. Time (5:36)
10. Breathe Reprise (1:09)
11. Comfortably Numb (9:07)

Sourced from a Japanese bootleg, this is the best recording that I've heard from the North American leg of David's 'Rattle That Lock' 2016 World tour.

Released earlier this year on Tachika Records – DGTLCD-558, as a silver 2cdr limited edition with the obligatory OBI strip. Titled 'David Gilmour – L.A. 3rd Night' and recorded on 27 March 2016 at the Forum, Inglewood. Tachika is an unofficial label comprising of self made cds and cdr issues that list an address in Tokyo, Japan. It's believed that the address is fake and they originate from a collector in the USA.

The North American tour had moved on from the bracing night air of the Hollywood Bowl, to the Forum for this third show. The setlist was the same as the prior concert, the inclusion of 'What Do You Want From Me' a co-write from Gilmour, Wright and Samson, again keeping 'On An Island' off the set-list. Of the new songs 'A Boat Lies Waiting' is becoming a classic; the whole band joining together and singing as a choir. 'In Any Tongue' received a standing ovation. The tour de force is 'Money' as David twists and turns the solos with João Mello's thrilling saxophone playing. David asks in his typical English reserve, "Are you having a reasonable time?" and 12,000 voices shout and scream in the affirmative 'Yes'.

Well known in Floyd collecting circles, MOB, remastered this IEM recording as he felt that the original boot mainly from an In-Ears Monitors source - though offering excellent details and a sound where the instruments are sharp and close - was let down by a disastrous attempt at mastering, the use of hard limiting causing a lot of saturation during loud parts; with minimal bass resulting in narrow sounding audio lacking in clarity. His remaster is an attempt at correcting these faults. Now the audio sound is much warmer with an in your face clarity to it. It's incredibly detailed with the drums in particular sounding extremely close in the mix. Until there is an official live release or DVD from the tour - this is the best sample from it so far.

The recent TV broadcast from Wroclaw in Poland is highly recommended to those that collect video footage. An excellent quality audio matrix of the TV broadcast and audience recording also circulates.





Thursday, 16 June 2016

*Special Post #8* LIFT TO EXPERIENCE - Live at Maida Vale, London 2001 (Flac)

Lift To Experience
Maida Vale Studio 4
BBC Studios, London,
England, U.K.

John Peel live session
29th August 2001
FM master

Josh Pearson, singer and guitarist of Denton, Texas trio - Lift To Experience declared to Uncut magazine reporter Nick Johnstone, that his intention on starting the band in 1997 was "To combine the guitar texture of My Bloody Valentine's Loveless with the instrumentation of the first Jimi Hendrix record." Mix in some Sonic Youth, Slint, Mogwai  and Godspeed You Black Emperor! influences and you can imagine what they sound like.

Their first release was a 500 limited issue 4 track-CD EP 'Falling From Cloud 9' on the Random-Precision label, it also had a further 500 run pressed in 2000. The band then signed to Bella Union - the record label started by the former Cocteau Twins members Robin Guthrie and Simon Raymonde, in 2000. A 7" split vinyl single followed 'Callin' Out To Jesus In The Middle Of The Night' b/w a live cover of the Pyschic TV track 'White Knights' by the band The Autumns. In 2001 they released a CD single on Bella Union, an edited version of 'These Are The Days' along with two live tracks 'With The World Behind' and 'Falling From Cloud 9'

'The Texas-Jerusalem Crossroads' a debut-double set, arrived in June 2001. Lyrically a concept about Texas, death and the Apocalypse. Uncut magazine confirmed it's backing of the band by making it their album of the month. The five star review by Allan Jones stated it has "Some of the most spectacularly handsome, guitar-led rock since the invention of the plectrum."

Lift To Experience recorded their first Peel session on 15 April 2001. They followed up with three UK tours in June, August and November. This 45-minute performance was played and broadcast live in front of a small studio audience at Maida Vale for the John Peel BBC Radio 1 show. It was recorded on 29 August, during their second UK tour. All tracks performed here are available on the debut album. The live performance 'Falling From Cloud 9' is nearly twice as long as the album version whereas 'These Are The Days' is cut to half of the album length.

A live set from U.L.U., University Of London Union in April was broadcast as part of the Sound City festival coverage on the John Peel show, giving rise to misleading information circulating on the net about the band recording three Peel sessions. The complete show can be heard here:

John Peel show 19 April 2001

'The Texas-Jerusalem Crossroads' was the only album released by Lift To Experience, they broke up in 2002. Josh Pearson returned in March 2011 with the highly acclaimed acoustic solo debut album release 'Last Of The Country Gentlemen.' Now fourteen years later after their demise, Lift To Experience have returned. After three shows in Texas, last week they performed live at the Meltdown Festival in London. A remixed re-release of the album will be forthcoming on Mute records.

The Band:
Josh Pearson: guitar & vocals
Josh Browning: bass
Andy Young: drums

Lineage: (master FM recording) 
BBC Radio 1 FM -> Roof Aerial -> Marantz ST151L Tuner -> Creative Soundblaster Extigy sound card -> CoolEdit Pro -> WAV -> CD-R
Conversion to FLAC:- Original archived CD-R -> EAC -> WAV -> TLH -> FLAC 8 & .ffp

01. Just As Was Told    9:03
02. Falling From Cloud Nine    8:05
03. With Crippled Wings    8:41
04. Ground So Soft        7:18
05. Waiting To Hit        7:10
06. These Are The Days    4:32


Tuesday, 24 May 2016

#50 TOM WAITS - Live in Austin (1978)

Austin City Limits
Austin, Texas
December 5, 1978

01. Burma Shave (11.17)                                                
02. Annie's Back In Town / I Wish I Was In New Orleans (7.28)                       
03. A Sweet Little Bullet From A Pretty Blue Gun (7.55)  
04. On The Nickel (6.11)                                                   
05. Romeo Is Bleeding (5.04)                                                            
06. Silent Night / Xmas Card From A Hooker In Minneapolis / Silent Night reprise (5.51)
07. Small Change (9.39)       

Lineage: Wolf HQR remasters vol. 2

An absolute classic from Tom Waits, this superb high quality performance was included among the Wolf HQR remaster series. It has a clutch of new songs that appeared on the latest album ‘Blue Valentine’. Of the two non album tracks Annie’s Back In Town appeared on the 'Paradise Valley' soundtrack, also released in 1978. On the Nickel would finally appear in 1980, finding a place on ‘Heartattack and Vine.’ The set-list is vastly changed from the Bremen 1977 performance (included in the 100) only Small Change is common to both. 

If you're not a Waits fan or familiar with his music, give this one a chance, especially the 11-minute opener. Only two minutes in and Tom casually rips a joke, much to the delight of the television studio audience. Immediately he has the audience in his grasp with evocative story telling, humour and the exquisite musicianship of his supporting band. Burma Shave is undoubtedly one of the great ‘small-town escape’ songs, applicable to any young person growing up in a small town or village throughout the world. His genius is not just in the music and lyrics but the way he draws you in to his characters and makes their lives and points of view feel like reality.

Tom’s appearance on the Austin City Limits TV show is one of the most requested shows in their 40-year archive. It was recorded three months after the release of ‘Blue Valentine’ and embodies a transitional stage in his career from beat poet evolving towards the more experimental work of the classic 80’s trilogy of ‘Swordfishtrombones,’ ‘Raindogs’ and ‘Frank’s Wild Years.’

Tom's band:
Herbert Hardesty - sax, flugelhorn, trumpet
Arthur Richardson - guitar
John Thomassie - drums
Greg Cohen – bass


Friday, 6 May 2016

*Special Post #7* ARCTIC MONKEYS - Earls Court 2013 (Flac)

Arctic Monkeys
Earls Court,
London, England
October 26, 2013 

FLAC radio webcast

"Absolute Radio broadcast the first fourteen songs in the correct order and also track 17 and 18.  Advert breaks have been edited and minor fades inserted where necessary. The show is now in the correct set list sequence.  I have excluded as many of the Absolute Radio voiceovers as possible. Some remain as it would have meant making cuts to the music."

The above notes were written by the original upoader. There are still frequent interruptions after many of the early songs in the set announcing 'Absolute Radio'. There is no slack as the set has been tightly edited for broadcast. The only slight flaw is that further editing work on the announcements could have been done without missing any music for a smoother playback.

Earls Court will be familiar to older blog readers as the venue of the classic Led Zeppelin UK shows in 1975. Like the Hammersmith Palais it no longer exists, demolished along with many of London's iconic and historic live venues. See the review below by Andrew Trendell 

'No tricks - just pure hedonistic entertainment from rock's new royalty'

"Earl's Court is a bit of a sorry site. Built in 1937 and since playing host to the likes of Muse, David Bowie, Queen and even the Olympics, this once grand hall has fallen from an iconic palace of culture to a rackety and cavernous aircraft hanger of an enormodome - due to be demolished in the not too distant future. Which is why it seems fitting that Arctic Monkeys should be one of the final huge gigs here: From The Ritz To Rubble.

It would be criminal if Arctic Monkeys didn't smack a big wet kiss goodbye to the old girl and join the ranks of the many legends to tread the boards here before she's razed to the ground - because that's what they are now - and now they look the part too.

Many have slammed the current Elvis-like incarnation of Alex Turner and his slick and stylish bandmates - but what do you want from the biggest band in Britain? Now they've finally got the balls and the bravado to match the bombast and brilliance of their sound. From the spotty Yorkshire lad firing out spikey riffs from his Strat hung just below his neck, to the lizard-like suited and booted rake that snakes and snarls his way across the stage today, the evolution of Turner into a rock god is now complete.

The roar that greets the band for the rumbling intro of the brilliant opener 'Do I Wanna Know' is a true heroes' welcome, and kicks off a set with no troughs whatsoever - just a series of peaks, battling to remain at the forefront of your memory.

The relentless quickfire explosion of 'Brianstorm' sees the sea of wild fanatics burst into a mosh that lasts the evening. Everyone in every corner of this vast hall is up on their feet and out of their minds for 'Teddy Picker', and even the once maligned 'Crying Lightning' is received warmly in the context of the milestone of a band striving for greatness.

Former guitarist with The Coral Bill Ryder-Jones makes an appearance for the wonderful 'Fireside', but it's 'Why Do You Only Call Me You're High' that truly hails the universal adoration of the AM material. You might be shocked to hear that this week is the eighth anniversary of 'I Bet You Look Good On The Dancefloor' debuting at No.1, but that once instant burst of promise sounds ever bit the golden oldie tonight, and goes down with the inevitable insanity of nearly a decade of indie discos.

The immediate connection of 'No 1 Party Anthem' and 'Snap Out Of It' ram home the fact that AM is an album of potential singles, but without overcomplicating or diluting anything about that Monkeys' approach. The beauty of the Monkeys lies in their simplicity. Other than a shower of confetti from the crowd-swaying 'I Wanna Be Yours',  there are no grand rock cliches here - and no OTT stadium statements. There are no dubstep electro breakdowns, no dancing robots or daft lazer special effects. They just let the music do the talking without using props as a crutch. It's just pure rock n' roll entertainment, with no tricks.

Even after Earl's Court is long gone, people will still be talking about when Arctic Monkeys breathed the fire of life into her for one last time, showing a heartwarming inverse reflection of the venue: from rubble to rock royalty. No band has unifed a generation like this since Nirvana or Oasis - who's next to challenge them? Viva the Monkeys." (review by Andrew Trendell of Gigwise - October 2013)


01. Do I Wanna Know?
02. Brianstorm
03. Dancing Shoes
04. Don't Sit Down 'Cause I've Moved Your Chair
05. Teddy Picker
06. Crying Lightning
07. One for the Road
08. Fireside
09. Reckless Serenade
10. Old Yellow Bricks
11. Why'd You Only Call Me When You're High?
12. Arabella [with War Pigs snippet]
13. Pretty Visitors
14. I Bet You Look Good on the Dancefloor
15. Cornerstone
16. No. 1 Party Anthem
17. Fluorescent Adolescent
18. I Wanna Be Yours
19. Snap Out of It
20. Mardy Bum [semi-acoustic]
21. R U Mine?

Codec: FLAC 16 bit 44.1
Streams: Absolute Radio (FLAC 16bit 44.1kpbs) 
Internet radio lossless streaming trial (OGG-FLAC)

We are currently broadcasting our services without compression using OGG-FLAC technology.
This will no doubt be pleasing for all you audiophiles out there but do bear the following points in mind: This is a trial - we don't guarantee it to be perfect!
Lossless streaming takes up a LOT of bandwidth. It averages 1 MBit/sec.



Wednesday, 20 April 2016

*Special Post #6* ELBOW - St. Paul's Cathedral 2011 (Flac)

St. Paul's Cathedral Crypt
London, England
Thursday, 26 May 2011

I bought Elbow's debut CD not long after its release in 2001, inspired specifically by the track Scattered Black and Whites, which I had heard on a cover mounted magazine compilation. Since then over the last fifteen years they have written a catalogue of songs that have few rivals amongst their peers.

Certain live recordings just stand out, even after hearing only a few minutes, this one impressed me and five years on those initial thoughts that this was a special show that would be worth passing on down the years have been vindicated. I listened to this during last Christmas holiday period and marked it down for a blog post. It's a bootleg of sheer class with perfect sound quality, and a sublime performance in which you can hear and feel the ambience of such an unusual venue.

 Absolute Radio recorded and streamed Elbow in FLAC technology (Fully Lossless Audio Codec) for a superior audio experience for fans.
Lineage: Soundboard > PC > Magix Music Editor to track, name & burn to cdr > Accurate rip to Flac level 8. (from the first broadcast on Absolute Radio on 5 June, 2011 between 7 and 8pm)

"It was when Guy Garvey was forced to hush his girlfriend because her off-stage chatter was disturbing him during one of his songs that you truly realised this was no ordinary occasion. Elbow have always appeared the most intimate of bands. Recent success may have propelled them into the arenas but last night, amid the low, vaulted ceiling of the crypt of St Paul's Cathedral, the Bury band found a stage to deliver an intense and personal concert.

It was the first time a band had ever played here. With its historic tombs - Nelson, Wellington and Sir Christopher Wren are all buried here - the venue could have felt sepulchral, crowded with dead souls. Instead, buoyed by the warmth and goodwill that poured out from the 300-strong audience towards them, the five piece - a rag tag collection of old suits, paunches, beards and baldness - gave them an experience bordering on the religious. Careful not to overpower such a small space, the band took the opportunity to jettison some of their more rousing material and instead show off some of their subtler songs. The resulting 90 minutes were a triumph.

Opener Mirrorball set the scene, as gorgeous and thrilling as when first heard. Open Arms was transformed from a stadium sing-along anthem into a pared-back hymn to the healing power of friends and family. The finely tuned dynamics of the performance centred, as ever, on Garvey's extraordinary voice in all its careworn perfection. But the unplugged style also lent greater weight than normal to Mark Potter's finely picked acoustic guitar and his brother Craig's inventive, lilting interventions on the piano. Backed by strings and Richard Jupp's shuffling drums, the band mixed old favourites - Great Expectations, One Day Like This - with unexpected selections from their back catalogue, with the epic, swelling romance of Switching Off a particular stand-out. Songs from their latest album seemed written with this gig in mind. Highlights included a bass-heavy Jesus Is A Rochdale Girl, Lippy Kids, their paean to golden youth and an unexpected outing for Dear Friends, the soaring, dreamy coda to the record.

Garvey's Northern charm and self-deprecating humour - "I've got bluster enough for the sails of a clipper" - combined with the optimism and hope that suffuse his bittersweet lyrics, invited each member of the tiny audience to believe every song was being sung just for them. This was never truer than on the final number, the little-played Scattered Black and Whites from their 2001 album Asleep in the Back, a moving and beautiful recollection of early memories, soaring and tender in its loveliness. His rich voice bolstered by aloe vera juice, Garvey at times looked overcome by the intimacy of the occasion - organised by Absolute Radio for a special high definition broadcast - and appeared to wipe away tears from his eyes several times. Towards the close, Garvey glanced up at the ceiling towards the cathedral above and remarked that he and the band felt humbled. "And in our rightful place in the basement," he teased. Such modesty, after an evening like this, was hardly necessary."   Review by Matthew Bayley, 27 May 2011

01. Introduction & preamble
02. Mirrorball
03. Open Arms
04. The Night Will Always Win
05. Great Expectations
06. Jesus Is a Rochdale Girl
07. Grounds For Divorce
08. Switching Off
09. The River
10. One Day Like This
11. Lippy Kids
12. Dear Friends
13. Scattered Black & Whites


Tuesday, 22 March 2016

*Special Post #5* THE BEATLES - Unreleased (Flac)


01. Love of the Loved - Decca Records audition January 1, 1962.
Unreleased Beatles song, Cilla Black used it for her debut single release in 1963  (Decca Audition)

02. I Saw Her Standing There - Private rehearsal,  Cavern Club, Liverpool, late 1962.
No harmonica on the final recorded version (For No One)

03. Bad to Me - Demo acetate, mid-1963.
Another unreleased Beatles song that was given away, this time to Billy J. Kramer. (For No One)

04. Roll Over Beethoven - BBC session, June 24, 1963.
A superior version than the one released on "Live at the BBC" with a longer guitar solo and better bass sound  (BBC-UB V3t53)

05. Sure to Fall (In Love With You) - BBC session, March 31, 1964.
Another superior take  to the one released. This Carl Perkins cover has a different bridge than the official selection from September 1963 (BBC-UB V8t48)

06. A Hard Day's Night - Take 4  April 16, 1964 EMI session
The reverbed guitar chord is attempted three times before a satisfactory beginning is taped. The track has some of the worst guitar playing recorded by George Harrison. (The Red Light’s On)

 07. I'm Happy Just to Dance with You - BBC session, July 17, 1964.
More mistakes by George Harrison, this time with the lyrics (BBC-UB V9t33)

08. What You're Doing - Take 11, September 30, 1964.
An alternate take that has noticeably more 12-string guitar (The Red Light’s On)

09. I'm a Loser - BBC session, May 26, 1965, Taken from the last session that the Beatles recorded for the BBC (BBC-UB V10t26)

10. That Means a Lot - Take 24 and "test" take, March 30, 1965.
Different than the Anthology take, a much faster arrangement that breaks down (The Red Light’s On)

11. Norwegian Wood - Take 2, October 21, 1965.
Again different than the Anthology 2 take; nearer the released version but the sitar is different and the track has a heavier beat (The Red Light’s On)

12. We Can Work It Out - Paul McCartney composing tape, autumn 1965
On this short extract Paul performs solo on vocal and acoustic guitar. (For No One)

13. She Said, She Said - John Lennon composing tape, early 1966
John performs solo on vocal and acoustic guitar. Early lyrics differ from the final version (For No One)

14. Strawberry Fields Forever - Home demo, Autumn 1966. John again performing solo accompanied by acoustic guitar. (The Red Light’s On)

15. Flying - September 8, 1967 - A Magical Mystery Tour instrumental, an alternate mix with a cabaret style ending (The Red Light’s On)

16. Back in the U.S.S.R. - George's house, late May 1968 from the Esher demos recorded shortly before The White Album sessions (White Album deluxe Purple Chick)

17. I'm Just a Child of Nature - George's house, late May 1968 from the Esher demos recorded shortly before The White Album sessions.  An unreleased Beatles song that John reworked as Jealous Guy for his 1971 Imagine album. (White Album deluxe Purple Chick)

18. Revolution - Late May 1968 at George's house, from the Esher demos recorded shortly before The White Album sessions.  (For No One)

19. I'm So Tired - January 3, 1969 from the Get Back/Let It Be sessions. Paul on lead vocals. 01/03/69 Disc 1: t39. 3.38 (2:32)  (A/B Sessions (Purple Chick)

20. Get Back - January 10, 1969 from the Get Back/Let It Be sessions. John on lead vocals. 01/10/69 (A/B Sessions (Purple Chick))

21. Besame Mucho - January 29, 1969 from the Get Back/Let It Be sessions. Fooling around on a song they used at auditions in 1962. 01/29/69 Disc 4: t03. 29.40 (2:27)  A/B Sessions (Purple Chick)

 22. Let It Be - January 26, 1969 from the Get Back/Let It Be sessions. This is an alternate version with Billy Preston's gospel sounding organ more prominent in the mix. It appeared on the first Get Back acetate which was the basis for one of the first and most popular Beatles bootlegs (Get Back ‘Elektra’ acetate)

 23. Something - Take 37, July 11, 1969. The violins are absent from this and it has a long instrumental coda cut from the final arrangement on Abbey Road. (Abbey Road deluxe v2 sessions (Purple Chick))

 24. Oh Yoko - May 26 to June 2, 1969, John & Yoko's hotel room, the Bed-In for Peace, Montreal
Acoustic guitar and lead vocals by John with Yoko contributing backing harmonies. An early version of the song that appeared on the 1971 Imagine album. (Complete Lost Lennon V12t23)

 25. Nowhere to Go - Circa late May 1970 George Harrison demo for All Things Must Pass
George solo on vocals and electric guitar on an unreleased song (The Art of Dying (All Things Must Pass Outtakes))

26. Long Tall Sally - August 29, 1966, Candlestick Park, San Francisco.
Less than a minute of the Beatles last live song from their final show, until the rooftop appearance in 1969. (Candlestick Park (Masterdisc))

Bonus hidden track
If I Fell - Convention Hall, Philadelphia, September 2, 1964. (CDR trade)

A listing of 30 of the most interesting unreleased Beatles tracks from the book "The Unreleased Beatles: Music and Film" was used as the basis for the compilation. It was compiled by the basement67 for the 100 greatest bootlegs blog (March 2016). The sources I have used are in brackets after the notes on each track.


Note that two tracks from Richie Unterberger's list are missing from this post. These have now been officially released on the BBC sessions 'BBC Vol.2'

Beautiful Dreamer - January 22, 1963 BBC session. Saturday Club, broadcast 26 January 1963
Lucille - September 3, 1963 BBC session.  Pop Go The Beatles, broadcast 17 September 1963

The following track was not used:

If I Fell - Early 1964 John Lennon demo vocal and acoustic guitar
This is a very lo-fi recording with extremely low sound levels (Complete Lost Lennon V15t19)


More information on the book that inspired this post can be found at this site:
The Unreleased Beatles: Music and Film by Richie Unterberger


Monday, 22 February 2016

*Special Post #4* JEFF BUCKLEY - Knitting Factory, New York 1997 (Flac)

Tuesday 4 February, 1997
Knitting Factory, New York, NY.

Next month sees a 'new' Jeff Buckley release "You And I". Comprising session recordings discovered by Sony as they sought to compile material for a 20th anniversary re-release of Grace in 2014. These were recorded at Steve Addabbo's West 21st Street, New York studio, over two solo eight-hour sessions in early February 1993. Further recordings with back up musicians followed at the Knitting Factory in May, these were stored together with the test session tape in Columbia's archives.

For this post we move on to Tuesday 4 February 1997. It would be Jeff's last solo performance in New York, part of the 10th Anniversary celebrations at the Knitting Factory, the downtown club where he had performed early in his career. Struggling with sound problems affecting his guitar and telling the audience that his voice was "shot" he nevertheless turned in a fascinating and important performance over a short seven song set. There is a sparse raw feeling to the music, playing mostly new tracks; Jeff was also accompanied by his former band mate Gary Lucas on a live version of 'Grace'.

A week later Jeff and his band would fly to Memphis to continue the ill-fated Easley sessions with Tom Verlaine.

01. Lover You Should've Come Over 8:07
02. Jewel Box 5:41
03. Morning Theft 4:29
04. Grace (feat. Gary Lucas)* 6:43
05. The Sky is A Landfill 7:11
06. Everybody Here Wants You 5:27
07. Yard Of Blonde Girls 4:57

Total running time: 42:35

Soundboard recording
Lineage: Flac > CDr > EAC (sec. mode) > Wav > Flac
Uploaded to Dime in 2005

On this concert for the 10th anniversary of the Knitting Factory, Jeff played a solo gig followed by  Jazz Passengers after him.


Saturday, 23 January 2016


The PDF document 'Best Bootlegs 2015' is now available.

From approximately 200 bootlegs downloaded and listened to throughout 2015, more than half were discarded. The remainder were considered worth keeping, either on disc or the best on hard drives for safe keeping and possible future uploads.

The titles covered in this booklet are in my opinion:

The 50 best bootlegs available for download from the WWW in 2015. 

Full details have been included for each bootleg such as:
  • Venue 
  • Date of performance
  • Type of recording - soundboard, FM, from the audience, etc. 
  • Taper’s name if available
  • Lineage
  • Running time
  • Name of uploader
  • Date uploaded
  • Website address
These details should enable you to quickly locate any particular title of interest. I have not provided a sound quality rating as all are of sufficient high quality to rate around 5 out of 5, some are worthy of 5+ like the best official releases. Details also include:
  • Complete track listing
  • Track timings
  • Informative comment on each bootleg. 
  • Index 
  • Brief details of the best of the rest including a further 20 bootlegs
The PDF document comprises:
  • 32 pages in A4
  • Word count 16,500 +
  • 50 bootleg images. 
It will be emailed direct to anyone who donates to the blog in 2016. 

Each donor can request a bootleg included that they would like to see appear on the blog. Links for the most popular two or three will then be posted for download.

Includes bootlegs by:


An example of the information provided is as follows. This is for a bootleg that never made the final cut and was excluded: 


Venue: Black Session (French radio show) France-inter, Studio 106, Maison de la Radio
Date: 26 October, 1993

Type: FM / Bootleg
Taper: n/a
Lineage: Sangatte cdr rip (bootleg)
Running Time: 72:08
Uploader: hermesacat
Date: 13 December 2014

01. Mary of Silence (8:45)  02. Ghost Highway (3:41)  03. She Hangs Brightly (6:44)  04. Bells Ring (5:22)  05. Halah (3:24)  06. Blue Light (4:56)  07. Ride It On (2:58)  08. Into Dust (5:15)  09. Give You My Lovin' (3:53)  10. Blue Flower (3:50)  11. So Tonight That I Might See (9:40)  12. Hair And Skin (4:07) 13. Rock Section (9:01)

Comments: The source used for the Sangatte bootleg or ‘promotional release’ as it has been loosely termed was lossy. The other most recent circulating source has six lossless tracks taken from a re-broadcast of the show, but they have been compiled together with an original FM broadcast that has inferior sound and is also in mpeg. Surprisingly this Sangatte CDr rip has better sound quality than the more recent compilation. You need the six lossless tracks plus this CDr rip to have the best sounding version of the show. Although a good editing job is still required to sort the numerous cuts that interrupt the flow of this performance. The set-list is split between the debut album 'She Hangs Brightly' (1990) and 'So Tonight That I Might See' (1993). The two remaining tracks are covers of Green On Red's Hair And Skin and Skin Patrol's Rock Section. It seems a great loss that this live session, one of Mazzy Star’s finest has never been officially released.
If you use the site link noted above there are numerous Mazzy Star, Opal, Hope Sandoval, David Roback and Rain Parade bootlegs available for download.