Monday, 7 January 2019

Bootlegs of the Year 2015-18



I have received many emails inquiring as to where the original 100 bootlegs documented on site can be found (the links were lost in 2016, see Downloads box on top right-hand side panel). 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 four years, the same sites and addresses mentioned are where I obtained most of the bootlegs that were included in the 100 greatest bootlegs listing.

The 200 best bootlegs available via download, 2015-18
4 years - 114 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 2018. It includes some that could easily stake a place for being included in that early list. In fact some will appear in the current Alternate 100. Having discarded numerous titles in the last four 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 2018 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 aid those that prefer an A to Z alphabetical listing and help you instantly find 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.

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 one hundred and fourteen artists featured, then I can confidently state that you will definitely enjoy the bootlegs that have been chosen.



The PDF document comprises:
  • 108 pages A4
  • Word count 67,541
  • 200 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
  • Complete track listings
  • Track timings
  • Informative comments about each bootleg
  • Index
Included in the main body of the text are details of the 200 bootlegs and where to find them by the following artists:

RYAN ADAMS
THE AFGHAN WHIGS
ASWAD
THE BAND
BEATLES (2)
BECK
BELLE & SEBASTIAN
BIG AUDIO DYNAMITE (2)
BLONDIE
DAVID BOWIE (4)
BROADCAST (2)
CALEXICO (3)
CAN
JOHNNY CASH
CAT POWER (3)
THE CLASH (2)
COCTEAU TWINS (2)
LEONARD COHEN
RY COODER
ELVIS COSTELLO & THE ATTRACTIONS (2)
CRAMPS (2)
CRANBERRIES
CREAM
THE CURE
DEXYS MIDNIGHT RUNNERS
BOB DYLAN (3)
EAGLES
STEVE EARLE & THE DUKES (3)
ECHO & THE BUNNYMEN (2)
THE FALL
ALI FARKA TOURE & RY COODER
FELT
FLEET FOXES
FLEETWOOD MAC (3)
RORY GALLAGHER (4)
GANG OF FOUR
BETH GIBBONS & RUSTIN MAN
RHIANNON GIDDENS
DAVID GILMOUR (2)
GRATEFUL DEAD (2)
PJ HARVEY (2)
JIMI HENDRIX (2)
THE JAM
JAPAN
THE JESUS & MARY CHAIN (2)
RICKIE LEE JONES
THE KILLS
KRAFTWERK (2)
LAMBCHOP (3)
LED ZEPPELIN (3)
LONE JUSTICE
BOB MARLEY & THE WAILERS
LAURA MARLING
MASSIVE ATTACK
CURTIS MAYFIELD
MAZZY STAR (2)
JOHN MELLENCAMP
MISTY IN ROOTS (2)
JONI MITCHELL
MOGWAI (2)
NEW ORDER (7)
NIRVANA (3)
OUTCASTS
PEARL JAM (3)
PENTANGLE
LEE PERRY & V/A
TOM PETTY & THE HEARTBREAKERS (5)
PIL (2)
PINK FLOYD
PIXIES (2)
ROBERT PLANT (3)
POGUES
IGGY POP
PRIMAL SCREAM
QUEENS OF THE STONE AGE (2)
RADIOHEAD (4)
BONNIE RAITT
REM (3)
DAVID RODIGAN'S REGGAE SHOW / PRINCE BUSTER SPECIAL
ROLLING STONES
SANTANA
THE STROKES
SIMPLE MINDS
SMASHING PUMPKINS
ELLIOTT SMITH
PATTI SMITH (2)
SONIC YOUTH (2)
SPARKLEHORSE
SCIENTIST MEETS DEVIL DUB
SPECIALS
SPIRITUALIZED (2)
BRUCE SPRINGSTEEN
STEELY DAN
THE STRANGLERS
JOE STRUMMER & THE MESCALEROS
SUICIDE
DAVID SYLVIAN & ROBERT FRIPP
TEARDROP EXPLODES (2)
TELEVISION (4)
THIN LIZZY
GEORGE THOROGOOD & THE DESTROYERS (2)
TINARIWEN      
TRIFFIDS
VARIOUS ARTISTS (3)
LAURA VEIRS
TOM VERLAINE (3)
THE VERVE (2)
WAH! HEAT
TOM WAITS
JACK WHITE
THE WHO
LUCINDA WILLIAMS
THE YARDBIRDS
NEIL YOUNG (10) 

      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 2017). The selected tracks are from bootlegs that never made the cut for the final document, but they will give you an idea of the sound quality I look for.

      page samples above

      Sunday, 16 December 2018

      THE VERVE - Hultsfred Festival, Sweden, 1994 (Flac)

      Alternate 100 - boot #22

      The Verve’s first three singles all released in 1992 reached #1 in the UK indie charts, a marker for greater future success. By the time of the debut album release ‘A Storm in Heaven’ in June 1993, the Verve already had enough tracks to compile an alternate album. Some were released by Hut on The Verve & No Come Down EP’s – now long out of print, these are well worth seeking out.

      This show was their fourth last of the year and broadcast on Swedish radio at the height of the summer festival season.

      After Kurt Cobain’s death earlier in the year, the domination of American alternate rock bands on the UK music scene ended and new English groups broke through to increasing mainstream success, the Verve’s music looked back to the pyschedelia of the 60’s and incorporated elements of the UK's shoe-gazing scene from 1988 to 1990 and also soul and funk influences. The Verve’s synthesis made for an inspiring and influential sound as the free form composition of their early singles and debut album was improvised and extended throughout their live shows. 

      Along with Glastonbury and Chicago from 1993, this is amongst the best early shows sound-wise and for performance, it includes a guest appearance by Oasis and has early versions of This Is Music, Rolling People and the unrecorded (at the time) Mover.



      The Verve
      Live at Hultsfred Festival
      Sweden
      August 13, 1994
      FM Radio Broadcast

      01 Intro (Swedish)
      02 The Sun the Sea                                 
      03 Slide Away                                         
      04 Blue                                                   
      05 Been on the Shelf Too Long (early version of ‘This Is Music’)
      06 A Man Called Sun                                          
      07 Mover                                                 
      08 Rolling People (early version later recorded for ‘Urban Hymns’)
      09 Gravity Grave                                    

      LINK

      Wednesday, 5 December 2018

      THE CURE - Rock Werchter Festival, Belgium (1981) (Flac)

      Alternate 100 - boot #21
       

      The Cure released their third album, 'Faith' nearly three months before this performance. Only the title track and Doubt were not performed at this festival.

      A show infamous for the somewhat fallible memory of Robert Smith who was quoted as saying.

      We'd only been on for about half an hour and everything was running late, so Robert Palmer's road crew started motioning to us to stop. This bloke ran on and said "If you don't stop playing, we're gonna pull the plug". Simon immediately walked to the mike and shouted 'Fuck Robert Palmer! Fuck rock 'n' roll!' and we started playing a really slow version of 'A Forest' which lasted about 15 minutes. It was fucking brilliant. Unfortunately, when we finished, they threw all our stuff off the back of the stage."

      The actual turn of events can be heard on this excellent hour long FM broadcast. A recording and performance that is the best from the 'Seventeen Seconds' and 'Faith' era.




      The Cure
      Rock Werchter Festival
      Festival Park
      Werchter, Belgium
      July 5, 1981

      FM master (2 broadcasts)>CDR>CDR>EAC>Flac>SF8>FLAC (see notes)

      Broadcasts:
      Hilversum 3 broadcast / a Forest is cut
      Hilversum 3 broadcast / only a Forest

      01. intro
      02. The Holy Hour
      03. In Your House
      04. The Drowning Man
      05. 10:15 Saturday Night
      06. Accuracy
      07. The Funeral Party
      08. M
      09. Primary
      10. Other Voices
      11. All Cats Are Grey
      12. Fire In Cairo
      13. Play For Today
      14. A Forest

      Thank you to lepep, who sent the source flac files to me.
      I've removed the incomplete A Forest and edited in the complete song to form a complete show. The source and mix were the same, so this edit is not detectable. Recording volume of show raised slightly.

      Seeded to PPTC/forever drowning in torrent 2005-01-19
      All editing by terrapinstation 2005-01-19
      Another Porky Prime Cut From Terrapin Station!!

      LINK


      Friday, 16 November 2018

      JEFF BUCKLEY - Knitting Factory, New York 1997 (Flac)

      Alternate 100 - boot #20

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



      The most recent official Jeff Buckley release "You And I" appeared in early 2016. It comprised of session recordings discovered by Sony as they sought to compile material for a 20th anniversary re-release of Grace in 2014. They 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, and these were stored together with the test session tape in Columbia's archives.

      I had considered the 'Grace' sessions for this post but I could see difficulties with take down notices emerging if I had posted it and I don't wish to upload butchered bootlegs. (ie. those stripped of 1, 2 or 3 official tracks etc.) 

      Therefore I have gone for this live performance, 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. These newer songs would appear in a more finished version on the official release '(Sketches For) My Sweetheart The Drunk'. This bootleg has five songs that would appear in a more complete style on that posthumous release. The sparse sound here focuses the spotlight on Jeff's incredible voice. 

      Whenever I play Everybody Here Wants You to friends or relatives, who are not familiar with Jeff's music, the reaction is always the same "What a great voice" or "What a great song"

      Jeff drowned while swimming in the Mississippi river on 29 May, 1997. His second album provisionally titled 'My Sweetheart The Drunk' was unfinished. 

      Listen to this and acquire '(Sketches For) My Sweetheart The Drunk' for a more complete view of his post 'Grace' work.

      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

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


      LINK

      Monday, 12 November 2018

      THE CRAMPS - Club 57, New York (1979) (Flac)

       Alternate 100 - boot #19

      The CRAMPS
      Club 57, Irving Plaza,
      New York, NY.
      August 18, 1979

      “I Don’t Care If You Want Me, I’m Yours Right Now”

      Deciding on which Cramps bootleg to include on the blog was a close call between the ‘Ohio demos’ and this. With the alternate 100 bootlegs format I am now able to include this live performance from Club 57 in August 1979.

      Club 57 opened in 1979 and closed four years later. It was an anti-disco, anti-glitz, dingy diamond of the early new wave era, and was managed by budding performance artist Ann Magnuson. Hired by the owner of Irving Plaza whose smaller club at St. Mark's needed alternative' entertainment to attract the neighbourhood’s local youth. She used her creativity and turned the basement into her own "low rent answer to Andy Warhol's Factory."

      One of Club 57's more successful nights was the Monster Movie Club, every Tuesday, showing "the worst monster movie they could find," according to Drew Straub. The soundtrack for these absurdist, weekly carnival shows were stars of the outer reaches of punk, new wave and rap. The club featured performances by St. Marks resident Klaus Nomi, Fab Five Freddy and John Sex. and also more established names such as the Buzzcocks and the Cramps. (thanks to the Bowery Boys New York History blog for information about Club 57)

      The latest unofficial bootleg release by Moonlight Records in 2011 has several issues with the mastering and sound quality. The main body of that silver disc is taken from the FM broadcast of Club 57, Irving Plaza, New York on August 18, 1979. It also includes 9 demo bonus tracks, these have been subjected to crackle and hiss removal, resulting in quite muffled sounding audio. The demo tracks can all be found on the bootleg vinyl release ‘Tales From The Cramps’ and while there may be some hiss and crackle on that boot, the sound quality is superior and more natural than the processed tracks on the Moonlight release.

      The tracks presented here are all from a master tape of the WPIX FM broadcast. It has superior sound quality with much crisper audio, the raw edges have not been blunted by any additional and unnecessary remastering. 

      In the summer of 1979, the Cramps had just completed their first European tour and returned to New York. They officially signed to IRS and commenced work on their debut album produced by Alex Chilton. After the album recording sessions had finished they went out on a major US tour, some dates as support to the Buzzcocks.

      The debut album “Songs The Lord Taught Us” would not be released until March 1980, mainly because of mixing problems and difficulties caused by the producer’s perfectionism. This FM broadcast is an excellent representation of the raw and savage sound of the early Cramps live and should be played at much louder volume than studio recordings to gain the full sonic effect.






      SKOTF ARCHIVE VOL. 131

      FM>MASTER CASSETTE>1ST GEN REEL TO REEL>STAND ALONE BURNER>WAV>FLAC

      BAND:
      Lux - vocals
      Ivy - guitars
      Bryan Gregory - guitars
      Nick Knox - drums

      SETLIST:
      01. UFO
      02. Domino
      03. Twist & Shout
      04. Weekend On Mars
      05. Voodoo Idol
      06. Zombie Dance
      07. Rockin’ Bones
      08. Human Fly
      09. Garbageman
      10. Teenage Werewolf
      11. Sunglasses After Dark
      12. TV Set
      13. - crowd -
      14. The Way I Walk

      LINK





      Sunday, 21 October 2018

      LED ZEPPELIN - How The East Was Won 1971 (EVSD SBD)

      Alternate 100 - boot #18

      How The East Was Won (Empress Valley Records 2CD)
      Excellent Mono Soundboard recordings.

      Osaka Festival Hall,
      Tokyo, Japan
      September 29, 1971

      Disc One
      01. Introduction
      02. Immigrant Song
      03. Heartbreaker
      04. Since I've Been Loving You
      05. Dazed And Confused

      Disc Two
      01. Smoke Gets In Your Eyes
      02. What Is And What Should Never Be
      03. Moby Dick
      04. Communication Breakdown
      05. Rock And Roll

      Lineage: My Silver > Xact > Flac > You!


       

      Empress Valley have finally released the long awaited September 29th, 1971 Osaka show, sourced from soundboard. It has previously circulated for years, from a lower quality audio source copied from the multitrack mixdown. It comes with a major drawback in that the complete show has not been released. With the 28th show also in their hands, Empress Valley look to maximise their return with these fragmentary releases. Fans have already been busy incorporating the previously released, Stairway to Heaven and Friends surprisingly omitted from this bootleg.

      This was Zeppelin's fifth and final performance on their debut Japanese tour of 1971. It is regarded as one of their greatest ever shows and significant for one offs and surprises, such as the only known performance of Friends during the acoustic set. A brief extract of Smoke Gets In Your Eyes follows and Pennies From Heaven is included within Dazed And Confused, these one and only performances add to the importance of the show.

      Unfortunately the 30-minute Whole Lotta Love is missing as is Good Times Bad Times and You Shook Me but we do get the closing track of the three-hour set, Rock and Roll which was another first for this tour. A tasty preview from the upcoming album IV.

      LINK



      September 29, 1971 Osaka Led Zeppelin - More Comedy, Less Work

      Soundboard + Winston Merge (fixed)

      CD1:
      01 - Welcome To Osaka
      02 - Immigrant Song
      03 - Heartbreaker
      04 - Since I've Been Loving You
      05 - Black Dog
      06 - Dazed and Confused

      CD2:
      01 - Stairway to Heaven
      02 - Celebration Day
      03 - That's The Way
      04 - Going To California
      05 - Tangerine
      06 - Friends
      07 - Smoke Gets in Your Eyes
      08 - What Is and What Should Never Be
      09 - Moby Dick

      CD3:
      01 - Whole Lotta Love
      02 - Communication Breakdown
      03 - Organ Solo
      04 - Thank You
      05 - Rock and Roll

      SBD - soundboard (speed corrected -2%)
      MT - multi track stage recording (edited to completion with Plantations and various patches by Winston)

      This is a merge of the newly released soundboard, previously released stray soundboards and the excellent remaster done by Winston. 


      Besides the speed correction on the SBD portion there are a few small fixes to clean up some very minor sloppiness in the performance. Moby Dick is not quite complete but about 90% there. Black Dog is taken from the 28th Soundboard.
       

      SBD levels were brought down in order to level match and for headroom. Very minor eq and limiting was applied and only in spots to get more cohesion in sound.

      What an amazing Zeppelin concert performance. Thanks to the great work by Winston (he really pulled great sound from his sources) and the sharers of these soundboard recordings. This is not meant to be definitive, just cranked. (Enjoy! ledsox)


      LINK

      Tuesday, 2 October 2018

      ARCTIC MONKEYS - Earls Court 2013 (Flac)

      Alternate 100 - boot #17


      Earls Court, London.
      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)

      Setlist:

      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
      encore
      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.

       


      LINK




      Thursday, 6 September 2018

      BIG AUDIO DYNAMITE - Entering A New Ride (1997) flac

      Alternate 100 - boot #16

      Despite positive reviews the “F-Punk” album (released in June 1995) wasn't a major commercial success, and the next year BAD would play no live dates at all, as they worked on new material, which would see them change direction once again.

      Work started on BAD's second album for Radioactive, “Entering a New Ride” during 1996. Chris Kavanagh and Gary Stonadge had already left the band, whilst guitarist Nick Hawkins played on the sessions, but left to form his own band Dynamo Jo, after the album was completed.  New members Joe Attard (DJ/vocals), Bob Wond (drums/vocals), and Daryl Fulstow (bass/vocals) were recruited along with Ranking Roger (vocals) who had previously enjoyed success with both The Beat and General Public.

      There were now two DJ's in the band, and the emphasis switched from the guitar driven music of the “F-Punk” album, to music that once again reflected current trends in UK club culture. Unlike “Megatop Phoenix” though, Mick's vocals were not present throughout the album, and he was credited as being the guitarist and MC. This meant other members of the group contributed more to the album vocally than on any previous BAD project, and it sounded somewhat different to anything the band had issued before. So different, in fact, that Radioactive Records refused to release the album when it was finished, as it seems they couldn't work out how to market a band who could change styles so dramatically from one album to the next.

      Promotional copies of both the single “Sunday Best”, and the album were circulated, and Norman Cook a.k.a Fat Boy Slim gave the “Sunday Best” single the following enthusiastic review in Wax magazine:

      “Mick Jones' Ladbroke Grove contingent return from an all too long absence with a shockingly good record. For my mind this venerable statesman of rock/dance crossover has a genius for keeping up with the pace of underground dance and incorporating it into his own sound. Mick carries on with his love affair with promoting London as his beloved metropolis after dark, but he's interjected the social/big beatbreaks and sirens to astounding effect. Remember this was the man who in the Clash introduced a generation of NME readers to rap, funk and reggae, and if you don't like the A side there's a tough instrumental on the flip. Go ahead London.”

      Despite these positive comments Radioactive refused to change their stance, and both the single and the album remained officially unreleased. BAD fans started an internet campaign known as “BAD Aid”, in which all fans were encouraged to write to Radioactive records showing an interest in the unreleased  album, and requesting its release, but despite a great deal of time and effort by a number of BAD fans the album remains in the Radioactive vaults to this day.
       

      Pro-quality CDR copies have been circulating amongst BAD fans for a number of years now. So in the end the BAD fans didn't lose out, but the record company did, and in many respects so did the band, as the album really deserved it's full release, and the royalties that would have come from it.

      BAD played two dates in Hull on August 9, and 10th 1997, as part of a Mick Ronson tribute, and this marked the first and last time that any of the material from the “Entering a New Ride” album was played live.
       

      The BAD Sound System was formed during 1997 and consisted of DJ?s Mickey Custance and Joe Attard, Andre Shapps on keyboards and samples, and Mick as the MC. The Sound System held regular DJ sessions at Club Maximum in London, but it seems that Radioactive Records decision not to release the “Entering” album signalled the end of Big Audio Dynamite as a band, with the name only being associated with the Sound System after BAD's final appearances in Hull in August 1997.
       

      1998 saw the BAD Sound System play further dates in the UK and Europe, and they also remixed records for other artists including DJ Punk Roc, and Hurricane #1 (1999). The official Big Audio Dynamite website: www.bad.co.uk was launched in 1999, and tracks and out takes from the unreleased “Entering a New Ride” album were made available as MP3's on the site.

      The reformation of the original line up of BAD was officially confirmed on 25th January 2011 with the announcement of a 9 date UK tour, which delighted fans that had probably given up hope of ever seeing the band in action again. From late March to early September BAD toured the world, played festivals, and appeared on prime time TV. Reviews were good, with the better writers also pointing out that music the band recorded all those years ago, was not only influential but underappreciated too, and we finally saw the band get the acclaim they deserved for being so far ahead of the game all those years ago. (written by David Parker for planetbad.files)

      The info above (in pdf format) was published in January 2012 and includes a pictorial history of Big Audio Dynamite and their releases. Until someone writes a history of the band, you will not find a better source of information about them. Available for download here: https://planetbad.files.wordpress.com/2012/01/planetbad1.pdf



      Opposing forum reviews below:

      "I think EANR was BAD's finest hour. This captured for me exactly what Mick was always trying to achieve Rock n Roll guitar with dance and other musical cross overs. EANR achieves this more than any of the other albums including This Is B.A.D. The way Mick uses Rock 'n' Roll guitar that glues all these dance influences together is in my opinion pure genius.

      I love its urgency and energy and the way the songs build up the excitement, is where this album provides the best adrenalin rush, over all the other BAD material and thats really saying something.
      The sharing of the vocals just lends the songs to be appreciated on so many layers creating an amazing organised chaos that was more punk than any other band i can think of.

      I also like the way it splits fans from those that love it and those that hate it - for me that's what makes it really special and the fact we get a free rough copy which was never released just makes it a Legend. Not wanting to be geographical but this album is London street level at its very best and unique to the end with no commercial worth - yeah it is brilliant!"


      and

      "The template for Gorillaz. Maybe if they'd had more varied vocalists trading with Mick. Obviously that was the idea with Roger, but I'm not sure that was sufficient, and Joe and Mickey were monotone  though they did have their "London street level" merits. Or maybe it was just too much to ask people to accept the project as "Big Audio Dynamite." MCA in the UK liked the Sunday Best single, but the album confused their marketing people. It wasn't "dance" enough. With Gorillaz, Damon was clever not to call it Blur plus he had the huge advantage of hiding his Britrock self behind a cartoon character. Mick knew that his image was in the way, and tried to finesse the situation but not enough.

      There are three mixes of the album. The Acton mix with Roger, and two from Whitfield Street, where they remade most of the tracks over. There's a mix from Mick and one from the engineer. The one from the engineer is the one they gave away."


      Tracklist
      01. Man, That Is Dynamite!  (6:23)
      02. B.A.D. And The Night Time Ride (4:55)
      03. Sunday Best  (4:20)
      04. Must Be The Music  (6:08)
      05. Taking You To Another Dimension (6:49)
      06. Sound Of The B.A.D. (6:20)
      07. Cozy Ten Minutes (8:11)
      08. Get High (5:01)
      09. Bang Ice Geezer (4:33)
      10. On The Ones And Twos (4:59)
      11. Nice And Easy  (6:53)

      The Band:
      Mick Jones - Producer, Vocals & Guitar
      Nick Hawkins - Guitar
      Andre Shapps - Keyboards
      Bob Wond - Drums

      Ranking Roger - Vocals (removed from this version)


      LINK
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