Saturday, 11 August 2018

Best Bootlegs 2015-17

Since many of the links were lost (see Downloads box on top right-hand side panel). I have received many emails inquiring as to where the bootlegs documented on site can be found. This PDF booklet will point you in the right direction, the sites I used and importantly the web addresses that they can be found at. Although it concentrates on the best bootlegs I have downloaded in the last three years, the websites and addresses mentioned are where I previously obtained most of the bootlegs included in the 100 greatest bootlegs blog listing.

The 150 best bootlegs available via internet download, 2015-17 
(3 Years - 91 different artists)

The selections for the 100 greatest bootlegs site were mostly made from downloads prior to 2015. This document includes the best bootlegs I have downloaded in the following years, 2015 to 2017. It includes some that could easily stake a place for being included in that early list. I will leave those for you to ponder on. Having discarded numerous titles in the last three years, these are the best downloaded in that time frame.

I had considered switching to an A to Z format but it would have lost the sense of continuity running through the document. For example the titles at the beginning of the book were those downloaded in early 2015, those on the latter pages date from the end of 2017 and these consequently will be much easier to find. As you will discover the net ebbs and flows, those titles not available currently will eventually make a re-appearance; it’s just a matter of patience.

Full details have been included for each, such as the venue and date of the performance, the type of recording – soundboard, FM, from the audience, etc. and information on the lineage and running times. Most importantly the website address is given for each download. A complete track listing is included, along with track timings and informative comments about each bootleg. The index will help you find instantly a particular artist that is of interest to you.

I have not provided a sound quality rating as virtually all are of sufficient high quality to rate around 5 out of 5, some are worthy of 5+ like the best official releases.

These have been carefully selected from the numerous bootlegs downloaded and listened to throughout the last three years - these are the best. As you can imagine, it originally took some amount of time and effort to pull this all together. What to include and just as importantly what to leave out, has taken considerable thought and listening hours, enjoyable nonetheless. So if you are a fan of any of the ninety-one artists featured, then I can confidently state that you will definitely enjoy the bootlegs that have been chosen.

The PDF document comprises:
  • 88 pages A4
  • Word count 50,454
  • 150 bootleg images

Full details have been included for each bootleg such as:
  • Venue
  • Date of performance
  • Type of recording - soundboard, FM, from the audience, etc.
  • Lineage
  • Running time
  • 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. Further details include:

  • Complete track listings
  • Track timings
  • Informative comments about each bootleg.
  • Index

Included in the main body of the text are details of the 150 bootlegs and where to find them by the following artists:
  •     RYAN ADAMS
  •     ASWAD
  •     THE BAND
  •     BEATLES (2)
  •     BECK
  •     BLONDIE
  •     DAVID BOWIE (4)
  •     BROADCAST (2)
  •     CALEXICO (2)
  •     COCTEAU TWINS (2)
  •     CRAMPS (2)
  •     CREAM
  •     THE CURE
  •     BOB DYLAN (2)
  •     THE FALL
  •     FELT
  •     FLEETWOOD MAC (3)
  •     RORY GALLAGHER (3)
  •     GANG OF FOUR
  •     DAVID GILMOUR (2)
  •     GRATEFUL DEAD (2)
  •     PJ HARVEY (2)
  •     JIMI HENDRIX (2)
  •     THE JAM
  •     JAPAN
  •     THE KILLS
  •     KRAFTWERK (2)
  •     LAMBCHOP (3)
  •     MAZZY STAR (2)
  •     MISTY IN ROOTS (2)
  •     MOGWAI (2)
  •     NEW ORDER (6)
  •     NIRVANA (2)
  •     OUTCASTS
  •     PEARL JAM (3)
  •     PIL (2)
  •     PINK FLOYD
  •     PIXIES (2)
  •     POGUES
  •     IGGY POP
  •     RADIOHEAD (3)
  •     REM (3)
  •     SANTANA
  •     PATTI SMITH (2)
  •     SPECIALS
  •     STEELY DAN
  •     SUICIDE
  •     TELEVISION (3)
  •     THIN LIZZY
  •     TRIFFIDS
  •     TOM VERLAINE (3)
  •     TOM WAITS
  •     THE WHO
  •     THE VERVE (2)
  •     NEIL YOUNG (8)
    If you would like a copy, it's only £5 GBP via the donate button, you do not require a paypal account. An audio sampler is available on a preceding post (see 29 December). Those tracks are from bootlegs that never made the final list, but they will give you an idea of the sound quality I look for.

    page samples above

    Friday, 10 August 2018

    LED ZEPPELIN - MSG, NYC. 12 FEB 1975 (Flac)

    February 12, 1975
    Madison Square Garden
    New York City, NY

    Flying Circus - 40th Anniversary Edition (from the 9CD Box)
    EVSD - Audience and Soundboard Matrix
    Lineage: My Silvers > Flac level 8

    Classic Boot #2

    Disc 1
    01. Rock And Roll
    02. Sick Again
    03. Over The Hills And Far Away
    04. In My Time Of Dying
    05. The Song Remains The Same
    06. The Rain Song
    07. Kashmir

    Disc 2
    01. No Quarter
    02. Trampled Under Foot
    03. Moby Dick

    Disc 3
    01. Dazed And Confused
    02. Stairway To Heaven
    03. Whole Lotta Love 
    04. Black Dog
    05. Heartbreaker


    Numerous soundboard & matrix versions of this show exist:

    Physical Riffiti [A Group/Personal Project] (SBD)
    Four Blocks in the Snow V.2 A [Bluecongo Production] (SBD/AUD Matrix)
    That's Alright New York [Godfatherecords] (SBD)
    SBD - 96khz/24 bit 5.1 Dolby Surround
    Keeper Of The Seasons [Liquid Led] (SBD)
    Flying Circus [EVSD] (SBD)
    Definitive Flying Circus [EVSD] (soundboard with audience)
    Flying Circus 40th Anniversary Edition [EVSD] Audience and Soundboard Matrix

    From Empress Valley we have graduated from the soundboard in 2002, to the Definitive Version! and finally (at the moment) the 40th anniversary edition in 2015. It was difficult to discern any major difference in sound quality between the Bluecongo production 'Four Blocks In The Snow' and this. With so many versions available I can recommend this release by Empress Valley.

    A review on Redditt gives the show some context as follows:
    "This was the third and final night at Madison Square Garden. It took place during a blinding snowstorm in New York City, which Plant mentions during the show. This concert is from the middle of the band's 1975 American tour, Plant has the flu and it shows. He mostly sings in a hoarse voice, and is clearly congested with a sore throat. Fortunately, the rest of the band makes up for it. Jimmy is still recovering from his broken finger injury that he suffered about a month beforehand, but he's fine form here, full of energy and enthusiasm in his soloing. Jones and Bonham are tight as ever, playing as one solid unit throughout.

    The band moves as one as they pummel the crowd with their thunderous attack. An amazing performance. The tape is a phenomenal matrix of an outstanding soundboard recording and an excellent audience recording (reportedly done by a regular Grateful Dead taper). The clarity of the recording is jaw-dropping. Both the music and atmosphere are left perfectly intact. Honestly, in terms of pure sound quality, this could easily pass for an official release. If you're a sucker for good sound quality, this is quite possibly the best Led Zeppelin bootleg. I even personally put it above The Song Remains the Same in terms of sound. It is that good.

    The best version of this show is easily Bluecongo's "Four Blocks in the Snow". It's a perfect example of a matrix done right. Neither recording ever goes out of sync, leaving us with the best sounding Led Zeppelin bootleg yet (and yes, I'm including Southampton)."

    theyearofledzeppelin blog describes 'Kashmir' as sounding 
    "like an army marching into battle." The final verdict "An unbelievable performance. An outstanding matrix of audience and soundboard recordings."

    and from Underground Uprising:
    "In my previous review of "Led Zeppelin's Flying Circus" I wrote that the soundboard, while of incredible quality, exposed Robert Plant's flu-ridden voice mercilessly. The result was so difficult to listen to that I recommended the audience tape over the soundboard. Why was this? The original house mix wisely buried Plant, while placing Jimmy's guitar up front. And Jimmy was having a very hot night....I originally approached this release with a fair bit of skepticism, but was quickly impressed with the great improvement.

    "Now that I've lived with the recording for a while I wholeheartedly endorse this as the definitive release of this show. The quality of a matrix recording depends on the sources used; and on this release, the frequencies of the audience and soundboard recording complement each other very well. From "Heartbreakers Back In Town" we get the rich, full frequency response and clarity of the soundboard. From "Can't Take Your Evil Ways" we get the excitement and vibe of the audience recording. So far, par for the course. But what really makes this release outstanding is the way that the matrix seems to bury the lower frequencies of Plant's voice (where all the flu-created roughness lies) while maintaining clarity. Furthermore the audience recording really adds "balls" to Pagey's guitar sound - something that was sadly lacking from the soundboard mix. Without a doubt, "Four Blocks…" could be an official release – it's that good.

    "Finally, while the release may be criticised for missing time, it's important to note that these are cuts to clapping and audience noise; not music. While I agree that shows should be as complete as possible, in my opinion the cuts in no way lessen the listening pleasure for either the casual listener or the serious Zeppelin fan alike. Given the outstanding sound quality, the amazing performance, and the incredible "vibe" of this recording, not only do I consider "Four Blocks…" to be the definitive release of this performance, but also one of the best Zeppelin bootlegs ever."

    Bootleg bible Hot Wacks declared:
    "Led Zeppelin had a very rough start to the '75 tour. Plant's vocals were in bad shape due to the flu and Page had broken a finger. The American tour started on January 18th so this show is about three and a half weeks in. By this time Jimmy's finger had healed and Robert was improving, although not completely up to par but was gaining more control over his vocal. This is an interesting show played during a snow storm and the title comes from Plant's comments "We came four blocks in the snow to get here..."
    For "No Quarter", John Paul Jones hadn't yet incorporated the change to acoustic piano and he goes a little over the top at the end of Page's solo where Jimmy has to reel him back in for the final verse. "Dazed And Confused" is the longest version so far from the tour and contains a piece from "Walter's Walk" starting at 22:44 lasting less than a minute.
    "Whole Lotta Love" is the first encore featuring an abbreviated version that runs nonstop with "Black Dog" and the second encore, "Heartbreaker" contains a jam on "That's Alright, Mama" during the break in the middle."

    Empress Valley have issued soundboard recordings of the following dates on the 1975 tour:
    Ultra Violent Killer Droog (Hellfire Club)        2/10/1975                Landover        2016
    Flying Circus                                                     2/12/1975                NYC                2002
    King's of the Stone Age                                     2/13/1975               Uniondale        2013
    St. Valentine's Day Massacre                             2/14/1975               Uniondale        2008
    St. Louis Blues                                                   2/16/1975               St. Louis          2004
    Rampaging Cajun                                               2/28/1975               Baton Rouge    2009

    Rock Super Stars                                                3/3/1975                Fort Worth         2015
    Chasing the Dragon                                            3/4/1975                Dallas                2003
    Days Confused                                                    3/5/1975               Dallas                2007
    Long Beach Californication                                3/11/1975             Long Beach       2009
    Conspiracy Theory                                              3/14/1975             San Diego          2004
    Haven't We Met Somewhere Before?                 3/17/1975              Seattle               2011
    Snow Jobs                                                           3/19/1975              Vancouver         2006
    Snowblind                                                           3/20/1975              Vancouver         2012
    Deus Ex Machina (deluxe)                                 3/21/1975               Dallas               2017

    He Must Be Dazed and Confused!                     5/24/1975               Earls Court       2002
    Zeppelin Express Physical Rocket                     5/25/1975               Earls Court       2002

    Wednesday, 1 August 2018

    PJ HARVEY - State Theatre, Sydney, 2012 (Flac)

    PJ Harvey
    State Theatre, Sydney
    19 January 2012

    Triplej FM rebroadcast - 20 May 2012


    Classic Boot #1 
    A series featuring bootlegs that were considered for inclusion in the original 100 listing. These new posts will build up to an alternate 100 greatest bootlegs.

    Following extensive touring throughout the UK, Europe and the USA in 2011, to promote the release of the 'Let England Shake' album, that earned Harvey her second Mercury Prize and was crowned Album of the Year by well over a dozen mainstream publications. PJ Harvey travelled to the Southern Hemisphere for 5 dates in Australia and a final show in Tasmania. It would be 2016 before she again undertook such a large touring schedule. This show is from the penultimate date of that tour and includes the 12 tracks broadcast on Australia's TripleJ FM radio station, selected from the 21 song set list.

    01. Live at the Wireless intro
    02. Let England Shake
    03. The Words That Maketh Murder
    04. The Guns Called Me Back
    05. Written On The Forehead
    06. In The Dark Places
    07. The Glorious Land
    08. The Pocket Knife
    09. Bitter Branches
    10. On Battleship Hill
    11. Come On Billy
    12. Band intro
    13. Angeline
    14. Down By The Water

    Lineage: Technics ST-610 receiver > Pioneer A-604R amplifier > Edirol R-09 (16bit 44.1khz) > USB > Macbook Pro > Sound Studio (tracking, fades, cosmetic edits) > xACT (fix SBEs + FLAC, md5, ffp)

    Announcers' inane babble and station IDs removed. No music was harmed in the process. No attempt was made to reduce FM hiss which is only audible in the quiet bits.

    from triplej website:
    recorded: 19 January 2012
    first broadcast: 14 May 2012

    This January saw the illustrious PJ Harvey return to our shores to showcase her Mercury Award winning 2011 record, Let England Shake at a handful of intimate, sold-out shows. Here's your chance to experience the English songstress on-stage with longtime collaborators Mick Harvey, John Parish and Jean-Marc Butty, captured by the triple j Live Music team at Sydney's State Theatre.
    FM from gjfatty



    complete setlist
    State Theatre, Sydney
    Thursday 19 January 2012

    1 let england shake
    2 the words that maketh murder
    3 all and everyone*
    4 the guns called me back again
    5 written on the forehead
    6 in the dark places
    7 the devil*
    8 dear darkness*
    9 the glorious land
    10 the last living rose*
    11 england*
    12 pocket knife
    13 bitter branches
    14 on battleship hill
    15 down by the water
    16 c'mon billy
    17 hanging in the wire*
    18 the colour of the earth*
    19 the piano*
    20 Angeline
    21 silence*

    Saturday, 21 July 2018

    The Clash - Last Gang In Town (Rarities 1976-84) Flac

    Bootleg of the Month - July 2018

    THE CLASH - Rarities 1976-1984

    This version has the officially released tracks removed. The 5 Polydor demos are on the 'Sound System' box set, as are the 2 Combat Rock outtakes. 'Outside Broadcast' is on the 12" Radio Clash single and was released on the Clash - Singles 19CD box set. Not one of the best Clash remixes and best forgotten. Added are the three 'Kampuchea' benefit concert tracks. Listen to over 63 minutes of prime Clash, studio and live 'rarities'.

    01 - Garageland (Complete Rude Boy Outtake)
    This song is cut during the 'Rude Boy' movie. The scene cuts to Mick talking on the phone trying to get some amplifiers on credit from his supplier. Here is the complete track with its 'one microphone' breakdown.
    02 - Pressure Drop (CBS Demo)
    An alternate version produced by Lee Perry in August 1977. The keyboards are more prominent, as is Joe's rhythm guitar.
    03 - White Man In Hammersmith Palais (Alternate vocal and lyric)
    The superior 'Burton Suits, turning rebellion into money' lines are missing here. Joe's JA exclamation "Yeah, mon" on this is notably missing from the final version.
    04 - All The Young Punks (CBS Demo)
    This demo as you would expect has much rougher sound than the final Pearlman produced version. Some different lyrics near the end.
    05 - Safe European Home (Music Machine, Camden Town 27.07.78)
    Recorded on the 'Clash On Parole' tour, named after their earlier court appearance for the infamous 'Racing Pigeons' shooting incident. This track about Mick and Joe's first visit to Jamaica was one of the best on the 'Give 'Em Enough Rope' album. At this show the Clash were joined on stage by ex-Sex Pistol Steve Jones, adding fuel to the rumour, that Mick's replacement was being lined up.
    06 - Lost In The Supermarket (Majestic Theatre, San Antonio, Texas 22.05.83)
    A decent audience recording with Pete Howard on drums, at one of the warm up shows for the group's headling slot on the second day of the US festival in San Bernadino in California.
    07 - Revolution Dub (Rude Boy Rock Edit)
    An edit of the instrumental version of Revolution Rock
    08 - Return To Brixton (1990 Jeremy Healy Remix)
    A remix released on 12" vinyl. Beats International (ft Norman Cook) sampled the intro to 'Guns of Brixton' for their UK #1 single 'Dub Be Good To Me'. This remix re-samples some of that hit single.
    09 - The Magnificent 7 (Dirty Harry Full Radio Mix)
    A brilliant song and a ground-breaking track. The Clash soaked up the influences of early rap, during their time in NYC for the Sandinista sessions. There were many mixes and remixes but this is special, the original Mick Jones mix, featuring samples from the movie 'Dirty Harry' and the cartoon 'Bugs Bunny'. Mick would explore these ideas further with his next band, Big Audio Dynamite.
    10 - Capital Air (With Allen Ginsberg - Bond's Casino Times Square, NYC 10.06.81)
    During the Bonds residency in New York. Allen Ginsberg met the group backstage in their dressing room, he was invited on stage to perform, what he called "a poem that has chord changes".
    11 - Should I Stay Or Should I Go (Mick Jones Produced Version)
    The 'Rat Patrol from Fort Bragg' original version produced by Mick Jones with Joe singing in Spanish.
     12 - Walk Evil Talk (From the Combat Rock Sessions)
    Described as 'a spacey piano-based free jazz mood piece', here it's edited down from the original seven and a half-minute length.
    13 - This Is England (Dutch 7'' Single 1984 Issued In Error)
    Quite different, it's more fractured and dub-like than the longer 'Cut the Crap' version.
    14 - Tommy Gun (Dunfermline Kinema 06.07.78)
    Recorded live from the 'Clash on Parole Tour'
    15 - English Civil War (London Lyceum 03.01.79)       
    This set opener, burns with energy, the furious guitar solos and raging vocals from Mick and Joe blow the album version into the dust.

    bonus tracks (in place of cut OR tracks).
    16 - Armagideon Time (Concert for the People of Kampuchea, London 27.12.79)
    From the long out of print 'Concerts For The People of Kampuchea' vinyl LP. It featured a stellar line up of the new: The Clash, The Pretenders, The Specials, Elvis Costello & The Attractions and Ian Dury & The Blockheads along with the old guard of Paul McCartney & Wings, Queen and The Who.
    17 - Bankrobber (Concert for the People of Kampuchea, London 27.12.79)
    18 - London Calling (Concert for the People of Kampuchea, London 27.12.79)
    Both of these tracks are taken from the JEMS tape that included a further 17 tracks, overlooked for selection on the original double album. It surprisingly has four tracks from British reggae group Matumbi, who didn't appear at all on the album track list.


    Bootleg of the month #2 was to have been a best of Womad 2018 compilation. BBC Radio 3 FM cut their broadcasting time down from the 11 hours plus of 2017, to only 6 hours this year. The main stage artists were ignored in favour of those that appeared on Radio 3's own stage, some were superb but it would have been pushing it to use the title, the best of Womad 2018. Depending on future broadcasts I may post a compilation at a later date.

    In its place I have selected two classic boots that narrowly failed to make the 100 greatest bootlegs listing, these will appear shortly.

    Wednesday, 11 July 2018

    RADIOHEAD - Kid A 2000 Live Promos (Flac)

    This was my best download last month and is consequently Bootleg of the Month for June 2018

     In an NME article published on 30 September, 2000. James Oldham wrote that "Three years on from the release of 'Ok Computer', 'Kid A' is the sound of a band struggling to surpass a record with a critical and cultural importance that is unmatched in recent memory. Recorded in four studios and three countries over a 12-month period rife with false starts and inter-band friction, the very least you can say about it is that it represents a complete and definite break with the past.

    It trades the ambitious, heavily treated guitar sounds of its predecessor for a detailed skeletal electronic framework of meandering ambient clouds and fractured, subsumed vocals. Supported by brittle drum patterns and keening static, the songs drift by with minimal human input, utterly at odds with their live counterparts. If 'OK Computer' vividly articulated Yorke's anxieties, then 'Kid A' shrouds them in sonic fluff. It's almost as if Yorke has chosen to erase himself from the group completely."

    In closing and summing up 'Kid A' James Oldham writes "that following  'Ok Computer' was always going to be a near impossible task, and Radiohead have opted for a route which, first and foremost, ensures their survival. 'Kid A' sounds like what it is: a record that's been slowly and painfully edited together. It's a brave, but flawed affair. It attempts to mimic the arrhythic sounds of Autechre and Aphex Twin but ends up mired in compromise.

    'Ok Computer' wasn't fantastic because it was radical sonically but because the quality of the songwriting was exceptional 'Kid A' sees them abdicating responsibility, as if Thom was frightened he couldn't reach the same standard again (hence the exclusion of all the actual songs).
    Making experimental music is the easy way out. For Radiohead, and in particular Thom, it seems to have bben the only way. Time will judge it. But right now, 'Kid A' has the ring of a lengthy, over-analysed mistake."

    The pertinent point made is that "the songs... are utterly at odds with their live counterparts." It is why I and many Radiohead fans prefer these songs when performed in front of a live audience. For those who wish to hear more I can recommend listening to the Warrington 2000 and the Oxford 2001 shows in their entirety.

    At the moment North America can see Radiohead live on tour, while we in the UK have President Donald Trump on tour. Who said anything about an unfair exchange?

    The original download is included here, along with some slight editing. I've used the first 7 songs and added 3 bonus tracks to make a live version of  'Kid A'. It's been done before, but the London tracks are new to circulation and Dollars & Cents and Morning Bell are available now from pre-FM sources.

    The bonus tracks were taken from the 'Secrets to be Told' collection, apart from In Limbo which was sourced from the Warrington pre-FM. Treefingers is the only 'Kid A' song missing.

    01. Optimistic (24 September, London)
    02. The National Anthem (24 September, London)
    03. How To Disappear Completely (24 September, London)
    04. Idioteque (24 September, London)
    05. Everything In It's Right Place (24 September, London)
    06. Dollars And Cents (8 September, Copenhagen)
    07. Morning Bell (7 October, Dublin)

          bonus tracks
    08. In Limbo (2 October, Warrington)
    09. Kid A (8 June 2012, Bonnaroo)
    10. Motion Picture Soundtrack (26 August, 1997 New York)

    Included in a separate folder are alternate live versions of:
    How To Disappear Completely (2000-10-06 Dublin)
    The National Anthem (2000-07-01 London)

    Thanks go to JWB for getting these promo tracks into circulation.


    Sunday, 24 June 2018

    LAURA VEIRS - The KCRW Sessions (Flac)


    Another disc I pulled from the DM's box under the stairs featured a Laura Veirs session from 2010. Her latest KCRW session was broadcast recently to promote the new album The Lookout. Here are both sessions together in one post, if you burn to cdr both will fit onto a single disc.

    "Laura Veirs grew up in Colorado Springs, Colorado, where she often spent summers camping with her family, which gave her much of her songwriting inspiration. Veirs has said that she didn’t seriously listen to music until she was in her 20s; instead, she just heard what was in her environment. She listened to folk, country, classical and pop music around the house and on the radio during her youth.

    Attending Carleton College in rural Minnesota, Veirs latched onto feminist punk rock from the Pacific Northwest, eventually starting an all-female punk band called “Rair Kx!”. Laura studied geology and Mandarin Chinese. After college, she embraced older country and folk music. Her first foray into songwriting started with a geological expedition in China, where she served as translator. She was miserable and immersed herself into writing lyrics as a way of coping."

    Laura Veirs - Live in Session on Morning Becomes Eclectic, 2010
    KCRW Radio FM Broadcast, Santa Monica, California

    Live In Studio Session at time of broadcast
    Aired: Tuesday March 9, 2010

    Lineage: FM > Onkyo HT-R520 > Analog Out > HHB-CDR 800 > Taiyo Yuden CDR. WAV  > TSSTcorpCDDVDW SH-S202N > EAC > CD WAVE Tracking > Flac.8)

    01. Intro
    02. Wide Eyed, Legless
    03. Sun Is King
    04. Carol Kaye
    05. July Flame
    06. Interview with Jason
    07. I Can See Your Tracks
    08. When You Give Your Heart
    09. Life Is Good Blues
    10. Spelunking
    11. Make Something Good
    12. Song My Friends Taught Me (incomplete)

    Additional Lineage:
    Original download > HD files flac > dbPoweramp WAV > editing WavLab6 > TLH (Flac 8)

    LINK 1

    The Band:
    Laura Veirs - Vocal, Guitar & Loops,
    Eric Anderson - Bass, Drums & Vocal,
    Alex Guy - Viola & Vocal,
    Nelson Kempf - Keys, Bass & Vocal

    JULY FLAME (2010)
    "On this album, Laura Veirs parts company with Nonesuch and opts for a self-release in the USA, via her Raven Marching Band Records imprint, with a Bella Union airing in the UK. After 2007's Saltbreakers it wouldn't have been unreasonable to have expected Veirs to have catapulted into far broader success, but on July Flame she maintains the hallmarks of her cult status, all underpinned by an honest approach to song-craft that's never overcooked or outwardly commercial.

    The record (produced with Decemberists collaborator Tucker Martine) sounds brilliantly put together, and tellingly, remains intimate and humble even when Veirs starts to pile up the arrangements, as on the great, string-stacked title track, or the miniaturised orchestrations of 'Silo Song'. There's nothing quite so immediate as 'Don't Lose Yourself' was on the last album, and the sequence gets off to a slightly sleepy start with the likes of the Fleet Foxes-esque 'I Can See Your Tracks' (which features My Morning Jacket's Jim James rather than any of Fleet Foxes) and the un-self-consciously countrified 'Sun Is King', but it's these more pared down moments that make the record such a joy on repeated listens.

    This is a seriously strong collection of songs - possibly Veirs' best to date - and gives off all the right signals to suggest it might just be loitering around those end-of-2010 charts."

    Laura Veirs - Live in Session on Morning Becomes Eclectic, 2018
    KCRW Radio FM Broadcast, Santa Monica, California

    Broadcast: Wednesday 23 May, 2018

    01. Margaret Sands
    02. Everybody Needs You
    03. The Meadow
    04. interview
    05. Seven Falls
    06. Watch Fire
    07. Heavy Petals
    08. True Love Will Find You In The End
    09. The Lookout

    LINK 2

     Lineage: FM Receiver -> CDRW700 -> EAC -> Soundforge -> FLAC

    THE LOOKOUT (2018)
    A prolific songwriter for nearly twenty years, Laura Veirs proves the depth of her musical skill on her tenth solo album, The Lookout. Here is a batch of inimitable, churning, exquisite folk-pop songs; a concept album about the fragility of precious things. Produced by Grammy-nominated Tucker Martine, Veirs’ longtime collaborator, The Lookout is a soundtrack for turbulent times, full of allusions to protectors: the camper stoking a watch fire, a mother tending her children, a sailor in a crows nest and a lightning rod channelling energy.

    “The Lookout is about the need to pay attention to the fleeting beauty of life and to not be complacent; it’s about the importance of looking out for each other,” says Veirs. “I’m addressing what’s happening around me with the chaos of post-election America, the racial divides in our country, and a personal reckoning with the realities of midlife: I have friends who’ve died; I struggle with how to balance life as an artist with parenting young children.”

    Written and produced on the heels of Veirs’ acclaimed album with Neko Case and kd Lang (case/lang/veirs), The Lookout integrates the fluency of collaboration with Veirs’ notorious work ethic. The twelve songs on the album are the result of a years’ worth of daily writing in her attic studio in Portland, Oregon.

    “Twenty years ago when I was just starting out with my punk band, it never occurred to me to write five versions of a song,” says Veirs. “I’ve learned to see how malleable lyrics and melodies can be. I have more tools as a musician so I write many versions of songs until I find the right fit.” Such range is demonstrated on the operatic vocals of “The Meadow” and the intricate finger picking on “Watch Fire.” “The Lookout,” the album’s title track, is an ecstatic anthem to trusted relationships.

    The Lookout draws on the talents of a time-tested crew of musicians: Karl Blau, Steve Moore, Eli Moore, Eyvind Kang and Martine. Says Veirs, “These guys are a good hang, ego-free and wonderful players who just want to serve the songs.” Sufjan Stevens and Jim James provide guest vocals.

    For Martine, who fell, almost two decades ago, for Veirs’ unique sound after listening to a tape cassette she’d sent him in the mail, this album reflects a bar that keeps getting raised. Both familiar and strange, The Lookout gets better with repeated listens, warming to the skin like a cherished saddlebag, critical for the journey ahead." (

    Thursday, 17 May 2018

    CAT POWER - Black Sessions 2008 (Flac)


    While the 2018 bootleg scene is unusually quiet for me (surprisingly only seven downloads in four months) it seems an appropriate time to post this wonderful Black Session by Cat Power. It was originally downloaded sometime in early 2008-09 and saved to data disc, my method of backing up, before the price of separate hard drives dropped. I discovered it amongst a clutch of other discs stored in a Doctor Martens box under the stairs. The DM's are long gone but fortunately the audio files remain.

    This is a solid contender for inclusion amongst the greatest Cat Power bootlegs. The sound quality is quite startling for an FM broadcast. The uploader's notes contain no information on the equipment used that has resulted in such a great recording.

    Many of the torrents I downloaded 10 years ago, have appeared in re-seeds but this one is not easily located (at the time of writing). The only flaw is that there is some interference to the FM reception, at points throughout this show, and that may have been a factor in excluding it from the 100 Greatest listing. A Sangatte commercial boot of the session is also in circulation. I've not heard it and it's possible that it may have been sourced from this recording. If it is a different source then it will need to go some to be superior to this.

    The session focuses heavily on the then current (2008) release 'Jukebox'

    Cat Power - Black Sessions
    Studio, Maison de Radio France,
    Paris, France

    Recording and broadcast : January 23rd, 2008
    Lineage : FM > CDWav > Flac > you

    01. intro by Lenoir
    02. Metal Heart
    03. New York
    04. Ramblin' (Wo) man
    05. Silver Stallion
    06. Lost Someone
    07. Lord, Help The Poor And Needy
    08. The Dark End Of The Street
    09. Song To Bobby
    10. Naked If I Want To
    11. Don't Explain
    12. Aretha, Sing One For Me
    13. She's Got You (false start)
    14. She's Got You
    15. Lived In Bars

    Recorded & edited by svp, for you. Bernard Lenoir's comments have not been removed,
    remember that some folks here like to have it all.



    Sunday, 4 March 2018

    NEIL YOUNG - Home Town: Live In Omemee, 2017


    Neil Young (solo)
    Live at Coronation Hall,
    Omemee, Ontario, Canada.
    1 December 2017


    Only a few months after being inducted into the Canadian Singer-Songwriters Hall of fame, Neil Young returned to the town of Omemee, Ontario where he grew up, to play a special solo concert for 225 guests.

    The concert was performed on December 1, 2017 at Coronation Hall in Omemee. It was streamed online and broadcast on Canadian television. Young performed several classic hits, as well as new songs from his recent album 'The Visitor' and rarities that had not been played live in years
    (e.g. "There's a World"). The show is full of comments and asides from Young about his music.

    This audio was recorded from an uncompressed OTA broadcast of the concert and downmixed from 5.1 to 2 channel WAV before being edited and exported as 48 kHz/24 bit FLAC files. The average dynamic range is 14 dB according to Dynamic Range Meter. Care has been taken to keep the best audio quality possible.

    01. Comes a Time
    02. "modern technology" comment
    03. Journey Through the Past
    04. Long May You Run
    05. I'm Glad I Found You
    06. Tumbleweed
    07. "hank" comment
    08. Old Man
    09. Old King
    10. Someday
    11. "it's been through a few changes" comment
    12. There's a World
    13. "not enough mistakes" comment
    14. Stand Tall
    15. War of Man
    16. Don't Be Denied
    17. "not the oldest one" comment
    18. Helpless
    19. Heart of Gold
    20. One of These Days
    21. Mother Earth (Natural Anthem)
    22. "this little journey" comment
    23. Sugar Mountain

    Canadian Television 'Over The Air' broadcast > Downmixed 5.1 to 2 channel WAV > edited & exported > 48 kHz/24bit FLAC

    OTA is short for Over The Air, it uses MP2, of which the data etc. is still too high for cable or satellite. Debates continue on forums about whether it is uncompressed or compressed. What I will say is that, this is the best quality, currently available of this show. At least until Neil Young releases it officially.

    This was the only bootleg downloaded last month (that I kept) and is consequently bootleg of the month for February 2018

    Reviewed by Bruce Head - 2 December, 2017
    On Friday (December 1), Neil Young returned to his childhood hometown of Omemee, Ontario to deliver a solo acoustic concert live-streamed to fans both in Canada and around the world.

    While the concert was a promotion for the release of Neil’s new record The Visitor, he only played one song from that record. However, the show was also a promotion for the launch of the Neil Young Archives — where fans can stream music from Neil’s entire catalog — which may explain why the remaining songs he performed were a mix of beloved classics and some tunes Neil hasn’t performed in many years.

    The invite-only audience inside Coronation Hall included some notable Canadian musicians like Randy Bachman (The Guess Who, BTO) and Tom Wilson (Junkhouse, Blackie and the Rodeo Kings) as well as local musicians like Bobby Watson and kawarthaNOW’s own Josh Fewings of Mayhemingways (Josh also worked on the set-up crew). Some teachers from the Scott Young Public School in Omemee — named in honour of Neil’s father, who has since passed away — were also there. Proceeds from the concert and the live stream (reportedly $18,000) are going back to the school’s music program as well as The Bridge School in California (a school for children with severe speech and physical impairments).

    While Neil was inside Coronation Hall, Omemee’s King Street was crowded with both local residents and visitors. Some people lined up to get into the enclosed viewing area set up outside the venue, where old-fashioned television sets displayed the live stream from inside the venue. The live stream, which was directed by Neil’s girlfriend and actress Daryl Hannah, began with a short video featuring scenes from Omemee along with photographs of Neil from the time he lived there (from when he was four to eight years old), with Neil providing reminiscent narration. Neil then walked to the stage where he performed 18 songs over almost two hours, switching mainly between guitar and harmonica and piano but also performing on ukelele, banjo, and pump organ. With a mic inserted in his harmonica holder, he frequently spoke to the audience between songs, as he moved around the heavily decorated set.

    Others may disagree, but it seemed to this writer that Neil appeared a bit off-kilter at first, perhaps adjusting to the unusual set-up for the concert or to being back in his home town and broadcasting a live concert to the world. He stopped to drink water frequently (he removed his jacket because he said it was too hot), before switching to tea with honey and eventually a beer. He hesitated at times, either for which song he would play next, or in choosing the correct instrument for the song (his crew helped him out there). When there was a small problem with a guitar, he joked “Omemee performance marred by technical problems” (other than that minor incident, there were no technical problems). However, all of this didn’t affect Neil’s performance and, if anything, his humour and openness just made the concert feel more intimate and endeared Neil to the crowd even more (at one point he commented that the world is “too perfect” and we need to embrace our mistakes).

    Neil opened the concert with the title track of his 1978 studio album Comes A Time, followed by “Love Is A Rose” (recorded first by Linda Ronstadt before Neil recorded it on Decade). He switched to piano for “Journey Through the Past” (a song he first performed on piano in 1971 at Massey Hall and recorded later that year with The Stray Gators) and returned to guitar for “Long May You Run”, the title track from the 1976 record by the Stills-Young Band, his collaboration with Stephen Stills. It was back to piano for “I’m Glad I Found You” from 2014’s Storytone and then Neil picked up the ukelele for “Tumbleweed”, also from that record. Neil then returned to guitar for his classic 1972 tune “Old Man” from Harvest. Before launching into the tune, he donned a ball cap that read ‘Ben Keith – Man of Steel’ and spoke about the former pedal steel guitarist, who played with him for almost 40 years. Ben died in 2010 aged 73, at his home on Neil’s Broken Arrow Ranch in northern California, where in 1970 Neil was inspired to write “Old Man” about Louis Avila, the caretaker of the ranch that Neil purchased when he was 25 years old. Next up was “Old King” on banjo, from 1992’s Harvest Moon, a tune Neil last performed in 2009. Then it was back to piano for “Someday” from 1989’s Freedom, and then “There’s a World” from Harvest — a tune Neil hasn’t performed since 1971.

    The final five songs of Neil’s set were all on the guitar. He began with the debut of “Stand Tall”, the only tune he played from his new record The Visitor, which was released on the same day as the concert. He followed that with “War Of Man” from Harvest Moon, the first time Neil has performed this song in concert since 2013. He then performed “Don’t Be Denied” from 1973’s Time Fades Away, a song he last played solo in 2003. When Neil launched into “Helpless” — a song he wrote for Crosby, Stills, Nash & Young’s 1970 album Déjà Vu — the Omemee audience lit up for its referential opening lyric “There is a town in north Ontario”. Before leaving the stage, he followed up with another big crowd-pleaser, “Heart of Gold” from Harvest.

    Following a long standing ovation by the crowd, Neil came back for a three-song encore, first performing “One Of These Days” from Harvest Moon. He then moved to the pump organ for “Mother Earth (Natural Anthem)” from 1990’s Ragged Glory before returning to the guitar for his final song, “Sugar Mountain”, first released as a single in 1969 and then re-released on 1977’s Decade.

    Link Info