Monday, 22 October 2018

Best Bootlegs 2015-17

Since the loss of the links in 2016 (see Downloads box on top right-hand side panel). I have received many emails inquiring as to where the original 100 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 sites and addresses mentioned are where I obtained most of the bootlegs included in the original 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. In fact some will appear in the current Alternate 100. 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.

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. I'm currently working on a updated and revised edition to be titled 'Bootlegs of the Year' (2015-18). It will also be sent out on completion. 
    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

    Sunday, 21 October 2018

    ARCTIC MONKEYS - Earls Court 2013 (Flac)

    Alternate 100 - boot #18

    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)


    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.



    Tuesday, 2 October 2018

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

    Alternate 100 - boot #17

    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.


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

    Soundboard + Winston Merge (fixed)

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

    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

    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)


    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: 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:

    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!"


    "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."

    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)


    Friday, 10 August 2018

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

    Alternate 100 - boot #15

    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

    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)

    Alternate 100 - boot #14

    PJ Harvey
    State Theatre, Sydney
    19 January 2012

    Triplej FM rebroadcast - 20 May 2012


    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

    Alternate 100 - boot #13

    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.

    Thursday, 17 May 2018

    CAT POWER - Black Sessions 2008 (Flac)

    Alternate 100 - boot #12

    This wonderful Black Session by Cat Power 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 but it must have been a high grade audio system.

    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  original100 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.