Wednesday 2 November 2016

#100 BOB DYLAN - Carnegie Hall, New York - 1963 (Flac)

Carnegie Hall, New York City, NY
October 26, 1963

The complete Carnegie Hall concert began circulating in 2008 via torrent sites as did the six month earlier concert at Town Hall, both shows are superb and will surely be released someday on the official bootleg series. Bob Dylan was moving so fast and leaving a trail of music behind that Columbia’s plans for releasing a concert from these two shows were abandoned. The planned album made it to the acetate stage and crackling copies have circulated for years amongst Dylan collectors.

This is the complete Carnegie Hall concert from October 26, 1963 and is the source tape used by bootleggers ‘Hollow Horn’ for their ‘Unravelled Tales’ release in 2008. Since circulating, it has been subjected to many cut up postings. I’m not sure if the complete original source is still available on the net today but if not, here is your chance to obtain one of Dylan greatest early performances without the bootleggers edits and fades. The sound quality is virtually flawless

High calibre songs from the third album sessions and relegated to outtake status "Percy's Song", "Seven Curses", and "Lay Down Your Weary Tune" were performed to a rapt, sell-out Carnegie audience. Only two tracks from the forthcoming ‘The Times They Are A Changin'' album did not appear on the Carnegie set list; ‘One Too Many Mornings and the closing ‘Restless Farewell’ 

These files stem from my original download saved to hard drive, there were no notes included with the audio files apart from the md5 text. 

This recording was succinctly described by a blog reader as: 

 "One of the most important recordings in American history"


1 crowd
2 The Times They Are A-Changin'
3 Ballad Of Hollis Brown
4 Who Killed Davy Moore
5. Boots Of Spanish Leather
6 John Birch Society Blues
7 Lay Down Your Weary Tune
8 Blowin' In The Wind
9 Percy's Song
10 Seven Curses
11. Walls Of Red Wing
12 North Country Blues
13 A Hard Rain's A-Gonna Fall

1 Talking WWIII Blues
2 Don't Think Twice, It's Alright
3 story
4 With God On Our Side
5 Only a Pawn in Their Game
6 Masters Of War
7 The Lonesome Death Of Hattie Carroll
8 When the Ship Comes In

Tuesday 1 November 2016

#99 GRATEFUL DEAD - Barton Hall, 1977 (Flac)

Barton Hall, Cornell University
Ithaca, NY.
May 8, 1977

*40th Matrix*

SBD (shnid=4982):
Betty Board -- Master 7" Nagra reels 1/2 track @ 7.5ips>Sony PCM 501. Playback on Sony PCM 701>DAT (Digital Transfer) -- Rob Eaton DBX Decoding (Spring '99) Playback on Panasonic 4100 DAT>DB 924 D/A>Dolby 361's w/dbx K9-22 Cards>DB 124 A/D>Neve Capricorn (Digital mixing console)>DB 300S>Panasonic 4100 DAT>DAT>Digi Coax Cable>Tascam CD-RW 700>CDR (x1)>SHN (Rob Eaton remaster)

AUD (shnid=29303):
Handheld Shure 57's, 10 Feet From Stage, DFC>TC152>MCMC>CDR>EAC>WAV>FLAC

Recording And Transfer: Jeff Stevenson

Thank you to Rob Eaton for the SBD transfer, and to Jeff Stevenson for recording this all-time great show.
Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC>AIFF>Final Cut>WAV>FLAC)
February 5, 2009

Set I
d1t01 - Minglewood Blues
d1t02 - Loser
d1t03 - El Paso
d1t04 - They Love Each Other
d1t05 - Jack Straw
d1t06 - Deal
d1t07 - Lazy Lightning ->
d1t08 - Supplication
d1t09 - Brown Eyed Women
d1t10 - Mama Tried
d1t11 - Row Jimmy

d2t01 - Dancin' In The Streets
Set II
d2t02 - Take A Step Back
d2t03 - Scarlet Begonias ->
d2t04 - Fire On The Mountain
d2t05 - Estimated Prophet
d3t01 - St. Stephen ->
d3t02 - Not Fade Away ->
d3t03 - St. Stephen ->
d3t04 - Morning Dew

d3t05 - One More Saturday Night

Jerry Garcia - Lead Guitar, Vocals
Donna Jean Godchaux - Vocals
Keith Godchaux - Keyboards
Mickey Hart - Drums
Bill Kreutzmann - Drums
Phil Lesh - Electric Bass, Vocals
Bob Weir - Rhythm Guitar, Vocals

Warning: this might steal your face - the sound is impeccable, thanks to truly excellent sources for a matrix.
-Hunter February 14, 2010

Revisiting The Grateful Dead's 1977 Barton Hall show

By Luke Z. Fenchel | Wednesday, February 10, 2010

For a large subset of music fans, a single concert on May 8th of 1977 captured a monumental moment, and ranks above any other show in rock history. It speaks to the lasting significance of the Dead, and the lives of its listeners, that only a few thousand people were there to hear it.

The legendary show is best known as "Barton Hall '77". Fame often distorts factual details, and the myth of May 8th might make what went on up at Cornell that strange and snowy spring night ultimately unknowable. But long before it was etched in the minds of Deadheads through the viral spread of audience tapes, culminating with the pristine soundboard recording that surfaced in 1987, Barton Hall was simply a stop between Boston and Buffalo on a well-regarded live band's itinerary.

"The Barton Hall show has - as have many things Grateful Dead - grown in stature over the years," said John Scher, who co-promoted the '77 show with the Cornell Concert Commission, revolutionized concert promotion while working with the band, and transformed The Capitol Theatre in Passaic, New Jersey into one of rock's most hallowed halls. "And probably if as many people were there as say they were there, you'd be talking about hundreds of thousands of people."

"I actually know people who I know weren't there who thought they were there because they've heard the tapes for so long," Scher continued. "It's hard to say. I saw hundreds upon hundreds of Grateful Dead shows, and it is one that sticks out in my mind, but probably to some degree I'm as guilty as the next: I was there, I remember it being a very joyful show, but because I've heard it many times since, and because of the legend of the show, it magnified itself." 

Booking the band 

"I always thought of this as my show," said Pat O'Brien, who was graduated from Cornell in 1977, and who was the chair of the Cornell Concert Commission during the lead-up to Barton Hall show. "From the moment it was booked. This was my graduation month, and they were my favorite band."

According to Mike McEvoy, the CCC's chairman of the selection and market research committee from '76-'78, a well-received Monday night appearance at Bailey Hall in October 1975 by a Jerry Garca side project "began to lay some of the groundwork."

"Ithaca is not on the route maps for most bands. So it has to fit in well from a scheduling standpoint too," he said. "And after all the discussions I had with [Scher's business partner] David Hart and the people at Monarch over time, we were ready - and they were comfortable."

"The stars were all in alignment, shall we say" McEvoy added.

Taping the show 

"Of what I was able to listen to, and from the crowd response, you could tell the band was on that night," McEvoy said of the show he booked and worked. "The Grateful Dead have a little bit of history, and there are nights that the band is not really on as much as other nights. And that night at Cornell they were really on."

"The band was at their playing peak," said Scher. "Cornell and Ithaca in general were very hospitable to the band and to their fans. I think there were a lot of Cornell students, a lot of Ithaca College students, and lot of Syracuse students for whom the Dead were their favorite band of the era. It was a nice day; the topography around Cornell is really different and interesting - the gorges. I remember seeing Deadheads staring at and looking at, with sort of 'Wow' on their faces."

Scher continued: "And everything just clicked for the band that night: both onstage, sound-wise for the audience, and vibe-wise for the interaction between the band and audience."

"I guess where we get most of our converts is from any of a number of good nights we have," Bob Weir told musician and journalist David Gans in an Aug. 9, 1977, interview. "It's pretty evident that what we're doing is going fishin' and sometimes we come up with catfish and sometimes we come up with trout."

"'Barton Hall '77' became that legendary for a number of reasons," Scher said. "The band was at the height of their powers. And because the band always shared their music with the fans, and always let them tape, which in those days was very, very unusual, and pretty much unheard of, when they performed a show as magical as this one was, the word spread not only by word of mouth, but also by listening."

He added, "I'm sure the tapes were duplicated thousands - tens of thousands of times."

"If you wanted to listen to field recordings, you either listened to somebody's fifth- or seventh- generation copy, or you went out and made your own," said Eddie Claridge, who was responsible for more than a few field recordings of the Dead, and whose audience tape from May 16, 1981, at Barton Hall is a phenomenal document of a completely different period for the band. (Claridge also recalled a May 7, 1980, tape he made when the Dead changed "Playing in the Band" to "Playing in the Barn" "because of the interesting acoustics.")

"We loved the music, and this was the most effective way to do it. If you spent the time to learn what you were doing, you could make quite a good field recording," he said. "And once you got it, it was hard not to do it at other shows. And that made some of us persona non grata at some other bands' shows."

"I missed Barton hall because I had a business commitment," Claridge added. "Of course I regret I wasn't there."

"Just because I saw 50 shows that year doesn't mean I wouldn't have wanted to see more." He continued, wistfully: "Of the whole spring ['77] tour, Barton Hall and Buffalo were the only ones I missed."

But the show was captured by someone who was probably in Claridge's social circle. Claridge didn't want to speculate, but likely candidates include Jerry Moore or Steve Maizner. (Moore, who edited Dead Relix magazine from 1974-1977, and who was one of the "original tapers," passed away on June 3, 2009; Maizner was unavailable for comment). The provenance is less important than the tape's existence.

Between October '74 and June '76 "[t]he underground Grateful Dead tape trading network had blossomed," Blair Jackson writes in his biography "Garcia: An American Life." Even before the Dead's "retirement" was better recognized as an 18-month hiatus from touring (between October 1974 until June 1976 the Dead only performed a handful of live shows), grassroots dissemination of live Dead recordings unofficially partnered with more traditional means of distribution, like the radio. (Jackson pointed out that of the four 1975 shows, one was broadcast nationally on the radio, and another was a free concert with Jefferson Starship that drew 25,000 people even though it took place the day it was announced.)

"Between audience-made concert tapes and the numerous Dead shows that had been recorded for FM radio broadcasts, there were many tapes in circulation among traders by the mid-'70s," Jackson writes. "This encouraged more people to collect tapes and become tapers themselves."

"There were not very many people taping in '75," Claridge said. "If you were to cite a number in the double digits for the whole country you'd be pretty close." He continued: "If I went to a show in '77, chances are that anyone in the room that was recording was someone I knew. And by 1980, at any given show there would be 150 guys recording."

Though Scher seemed to be speaking of field recordings - known as audience tapes by Dead fans - the "Betty Boards" were just as important to a show's acclaim.

"[Barton Hall '77] was the first really great tape to come out that everybody had in their collection," Rob Eaton, Dark Star Orchestra's founding member said. "So it became a favorite listening piece: a vehicle to listen to the Dead at all times because it was pristine quality of a really good show from a really great time period."

The second set 

"I was in the back of the hall when the second set started, and they launched into 'Scarlet > Fire' which is kind of a classic hallmark of the Cornell show," said McEvoy, who went on to work with rock promoter Bill Graham (the promoter of that nationally broadcast radio show in '75). "I've come to realize that all I need to do is mention the Cornell show and a knowledgeable person who knows The Grateful Dead would say, Scarlet Fire."

"I would say that it is one of the highlights, but it is not the only highlight," David Lemieux, The Dead's tape archivist and CD producer since 1999 said of Barton Hall's "Scarlet > Fire" in a phone conversation from his home in British Columbia, Canada. "When you listen to April 22 - May 28, you realize there are a lot of highlights." Lemieux quickly added: "There is so much great music; it is without a doubt one of the great tours in the history of The Dead."

Barton Hall may be simply the most well known. "I agree with the people who say [the Dead reached its peak on] May 8, 1977," a fellow named Jimmy - who said he had been to every show in the New York area since 1972 - told the Times' Ben Ratliff in the Fall of 2008.

"It's sort of ubiquity breeding consensus," said Gary Lambert, longtime editor of the Grateful Dead and host of "Tales from the Golden Road" on Sirius XM's Grateful Dead Channel. "It's like saying that the popularity of 'Star Wars' somehow makes it inherently greater than a film like 'Shoot the Piano Player.'" He continued: "I would just rather talk about the fact that the band was playing at such a level."

Lambert noted up front that "Barton Hall does not particularly stand out because I was never a great seeker of or accumulator of tapes at the time." He first "stumbled" on the Dead on May 5, 1968 in Central Park, but was living on the West Coast by '77. "I first heard the 'Terrapin' [album] material in March of '77 at Winterland," he told me, with palpable excitement in his voice. "And hearing those songs for the first time in was already revelatory, even though they were just testing them out as live pieces, because they had a compositional complexity was apart from what [the band] had tried before."

"Instead of coming up with a riff and developing it live - [the Dead's] method used to be to turn a jam into a tune - 'Terrapin' was a really well-written song, and it came out well-realized," he continued. "So by the time it become a live performance piece it was already very well developed and only got better."

The next shows Lambert caught came after the spring tour, again at Winterland. "Those June '77 shows were extraordinary, and for those of us who had seen them in March, June was like the payoff." He continued: "Everything had become a glorious beautiful monster, and there was a sense that the band had emphatically shaken off whatever cobwebs they had acquired during their nearly two year hiatus."

"Any number of shows from the spring circuit are arguably just as good as Barton hall," Lambert said finally, citing Hartford, Buffalo and Chicago as examples."

Buffalo and Chicago are not commercially available, but the Hartford soundboard recording is (05/28/77, as "To Terrapin"), as is the second of three nights at the Palladium in New York (04/30/77, released as the first installment in the Grateful Dead download series), and three consecutive Southern dates (05/19/77, 05/21/77 and 05/22/77, released as Dick's Pick's 29 and 3).

Lemieux compared soundboards in the vault (Hartford, for instance) to Barton, one of the many that are missing. "It's not exactly comparing apples and oranges, but comparing oranges and tangerines." He continued: "[Barton Hall] sounds pretty good. The non-commercial release was never mastered in HDCD. The commercial releases have gone through some technology that adds a heck of a lot."

"WOW!!" John Dwork writes of the audience recording in the Hartford '77 entry of The Deadhead's Taping Compendium, Vol. II. "Highlights: The entire tape." The entire review continues ecstatically, concluding with a wish, "What a fine, fine performance. I sure wish there was a soundboard of this show." That wish is now a reality.

Barton Hall '77 does not include the "Terrapin" suite, though it does include "Estimated Prophet" from the '77 studio record "Terrapin Station," as well as Hart and Hunter's "Fire on the Mountain." ("TS," "EP" and "Samson and Delilah" from the album were played in Boston on May 7; the complete Barton Hall '77 set-list and almost all others are available on The Taping Compendium as well as on, and all over the internet).

"If Barton Hall '77 only existed in the memory of 4,000 people, and if every show had been equally available and equally recorded, I engage in [the] hypothetical if," Lambert mused. "If you could separate the experience and the artifact, then probably the Barton show would not be as highly regarded."

Later, Lambert said: "I could get into analysis [of Barton Hall] I'm happy to get into that. If you ask me about the best shows of 1977, I would be hard pressed to call any show a best show without 'Terrapin Station.'"

"It doesn't matter what they played!" Lemieux exclaimed after hearing about Lambert's comments. "To me it's about performance quality... I have never even considered [the set-list part] of the quality of the show."

"Remember Barton Hall saw one of the rare 'Morning Dew's' played at the time," Lemieux continued. "They only played it a few times on that tour, so 'Morning Dew' itself is something significant. As is 'Saint Stephen.' And a brand-new 'Estimated Prophet.'"

O'Brien recalled: "The only specific thing is that I do remember when they started up "St. Stephen," because I thought, Oh Yes!"

"You always wondered if they were going to play 'St. Stephen,'" Dave Pohl, a local musician and music fan said over his dining room table last week. "And same with 'Morning Dew.' So to hear both things in such proximity was important for me."

Pohl continued: "And 'Estimated Prophet.' That's not even my favorite song, but I remember when they played it something was going on there. It was special."

"If you look at the five songs Deadheads would want to hear, 'St. Stephen' was always there. It is one of the songs you seek out like crazy," Lemieux said.

"I've characterized the Grateful Dead as 'America's longest-running musical argument-" Gans told Phil Lesh in an interview on June 30, 1982 for a piece in Musician magazine. "The very definition of a musical argument is something that keeps going, and that you uncover new details and new combinations," Lesh said in response. "A musical argument is not the same as a verbal argument...That's really a good description, in sort of an abstract verbal sense."

"You know, I'm not as obsessed as the next ten people you're going to talk to and I don't make lists of favorites," Gans said by phone from his home in the bay area. "It's just not something I can rattle off. I don't give a shit." Gans continued: "What I can say of the spring tour is that it's interesting-great-music, and I can tell you why."

"I can't tell you what I think about the show," O'Brien said, firmly and flatly. "Most of my family was there. Many of my brothers came up; one worked the show." O'Brien added, "I could never be objective because, as I said, It was my show. I can't be objective."

More than 30 years on, Barton Hall '77 has become one of the best-known performances of arguably the finest live band in American history. "It's simply classic. It makes the hairs on the back of your neck stand up," Dennis McNally told Cornell Magazine in 1997.

"What the Grateful Dead invented, and what they inherently knew, was that the more people that had the music, that got to participate, the better fans they would become. The community created camaraderie, and they would make fans and [fans] would make tapes. Lifelong friendships were made by audience members, not only by seeing friends at shows, but the relationships that were made by trading of tapes."

"There has been no band in history that has the sociological effect on the public more than the Dead," Scher said towards the end of our interview. "The Dead had social impact on millions of people." 

Audience and Soundboard, Experience and Artifact 

"What the Grateful Dead invented, and what they inherently knew, was that the more people that had the music, that got to participate, the better fans they would become," Scher said. "The community created camaraderie: they would make fans, and [fans] would make tapes. Lifelong friendships were made by audience members, not only by seeing friends at shows, but the relationships that were made by trading of tapes."

"There were lots of tapes around before that," Artie, a longtime Ithaca music scene veteran, told me when we met on a late afternoon at the State Street Gimme! Coffee. He opened his briefcase, and took out three CD-Rs that he placed on the table in front of us.

"Well this was, as you know, one of the first Betty Boards that widely circulated. As a matter of fact, I brought for you the soundboard of the entire show," he said, nodding to the CD-R stack of three.

He pressed a fourth CD-R into my hands, and said, "But this is the audience that I prefer. There were tapers around. Many of them traveled some of the same social circles I did."

"Personally," Artie continued, "the soundboards are amazing, but on the other hand they are... for me I listen to recreate the experience of being there. The audience tapes crackle with energy. In fact I stood right there, and I can hear myself on the tape. So at times when I would yell, or the people I was with would yell, you can hear it."

"In fact, people who have passed away...I...uhh listened to it today." Artie was tearing up. He continued, "And I thought about one person I was with who was my best friend at that point, and who has since passed away, and you can hear him on the tape. He yells out periodically during solos. And in fact for me, that's one of the most important parts of the tapes, when I will periodically listen to tapes." He paused. "I don't listen to tapes much anymore."

"For most people, when they have special moments like this, there is no artifact. Their memory is their only connection to it. What a luxury I have to have this artifact. I play it, people who are gone are there with me. The space sounds the same, and the connection is amplified-it's so much more real."

"It's a memory-reinforcing-tool"

"What's the difference between the best and my favorite," Artie asked later. "Who am I to judge?"

"It's less about the best and more about your experience. To me, Barton Hall is a largely widespread if not universally acknowledged Dead show." He added: "33 years on, people are still talking about Is It Or Isn't It. Well, is not that the indicator right there?"

"If you're into it, who am I to judge?"

More than 30 years on, Barton Hall '77 has become one of the best-known performances of arguably the finest live band in American history. "It's simply classic. It makes the hairs on the back of your neck stand up," Dennis McNally told Cornell Magazine in 1997.

Thursday 27 October 2016

#98 TOM WAITS - Postaula, Bremen, Germany April 26, 1977 (Flac)

This show was volume one of the Wolf HQR Remasters but that source was from an FM broadcast.
This is the pre-fm upgrade.

Tom Waits
Bremen, Germany

01 Step Right Up
02 Semi Suite
03 Fumblin' With The Blues
04 Midnight Lullaby
05 Emotional Weather Report
06 Nobody
07 I Can't Wait To Get Off To Work
08 New Coat of Paint
09 Grapefruit Moon
10 Diamonds On My Windshield
11 The One That Got Away
12 Small Change
13 Spare Parts
14 Invitation To The Blues / Eggs And Sausage
15 Depot, Depot
16 The Piano Has Been Drinking
17 Pasties And A G-String

Tom Waits (p,voc)
Frank Vicari (sax)
Dr. Fitzgerald Jenkins III (b)
Chip White (dr)

CDR (preFM) - xACT
Support the artists by buying their records.

corrected artwork for back cover


Wednesday 26 October 2016

#97 BRUCE SPRINGSTEEN - The Complete Nebraska Session (Flac)

The Complete Nebraska Session
Colts Neck, New Jersey
December 1981 - January 1982 

Alone In Colts Neck
Labour Of Love  LOVE 001

Volume 1, was the gem of the Lost Masters set for many people. The long-awaited original acoustic version of Born in the USA can finally be heard, and the true meaning of the song cannot be ignored in an arrangement somewhat similar to the solo acoustic tour version, albeit a bit faster. One has to wonder how differently the song would have been received had this version been released.

Downbound Train was another song supposedly recorded for Nebraska, and, it must be said, was done a favour when Bruce and the E Street Band later recorded it for Born in the USA.

Child Bride is essentially Working on the Highway but slowed down tremendously, and some say that Child Bride is better than it's album counterpart; a friend said that if the entrepreneurs behind the Lost Masters were ever tried, they could play Child Bride back to back with Working on the Highway and they would be acquitted.

Another interesting note is the song Losin' Kind about a couple who commit a crime before crashing their car in the snow, essentially the same song as Highway 29, released almost 14 years later on The Ghost of Tom Joad album.

1.Nebraska (4:27)
2.Atlantic City (4:02)
3.Mansion On The Hill (4:00)
4.Born In The U.S.A. (3:04)
5.Johnny 99 (3:32)
6.Downbound Train (2:26)
7.Losin' Kind (4:52)
8.State Trooper (3:07)
9.Used Cars (3:01)
10.Open All Night (2:49)
11.Pink Cadillac (5:24))
12.Deputy (5:30) - aka "Highway Patrolman"
13.Reason To Believe (4:01)
14.Child Bride (5:27)
15.Dream Baby (0:34)
16.Precious Memories (1:11)
17.Nebraska #1 (1:15)
18.Nebraska #2 (1:13)

Total Time: 60:01 

Solo acoustic demos for "Nebraska"
Taken from the original 4-track cassette mixes of the "Nebraska" acoustic home demos
Tracks 15-16 Location(s)/date(s) unknown

Original Labour of Love disc---EAC(secure)---SHN   (7-2003)
(Re) post newsgroup ABMS > Traders little helper verified SHN > WAV > FLAC Level8   (11-2006) Info taken from Brucelegs

Further information on the sessions can be found at Brucebase, the bootleg title 'Complete' being a bit of a misnomer see:

Tuesday 25 October 2016

#96 JIMI HENDRIX - Berkeley 1st show, May 30, 1970 (Flac)

Berkeley Community Theatre, 
Berkeley, CA.
Saturday 30 May 1970 
(first show)

Complete Soundboard (ATM-0256/257)

Jimi Hendrix arrived in Berkeley - a town that, in 1970, was synonymous with radical political thinking and protest. A week earlier, a riot over Peoples Park left one man dead and others wounded. The previous month, anti-ROTC demonstrators battled police on the University of California campus, and the destruction was so extensive that the campus had been shut down completely. 

It became well known that a feature-length film was to be made from these performances. Not only did this stir even more controversy, but the clamour for tickets was at a near hysterical state. Over a thousand ticketless fans were outside and determined to get in. These elements all combined to create a pressure-cooker atmosphere. Both the music and film Jimi Plays Berkeley reflect all of these things.

Jimi Hendrix - vocals and guitar
Billy Cox - bass and vocals
Mitch Mitchell - drums

1st speaker Bill Graham
2nd speaker unknown

Recorded on 8-track by Abe Jacob with the Wally Heider mobile truck.

This set is an upgrade of ATM-0123/24 The Berkeley Concerts, now presenting the entire show in continuous uniform soundboard quality. Star Spangled Banner & Purple Haze were completely missing from the older versions of the soundboard tape and the ATM discs, as well as the start of both Foxy Lady & Freedom.  The distortion audible on the previous ATM release is gone.

Disc 1
01. Intro (cut at 2.56)
02. Fire
03. Johnny B Goode
04. Getting My Heart Back Together
05. Foxy Lady
06. Machine Gun

Disc 2
01 Freedom
02 Red House
03 Message to Love
04 Ezy Ryder
05 Star Spangled Banner
06 Purple Haze
07 Voodoo Child (Slight Return)

It seems that all copies of the Berkeley soundboard tapes originated from Bob Terry. The Cooper Owen auction listings for the tapes included three reels with the 2nd part of the concert. It is however probable that Terry also had similar reels for the 1st half, for some reason omitted from the auction (like many other tapes he had), so very likely all of his Berkeley multitrack mixdowns were on 15 ips 10" Ampex reels or similar studio quality tapes.

Several different edits of his Berkeley tapes, were circulated. The basis of this set was a low generation cassette originally received from Bob Terry that came into circulation in 2011. Unlike previous versions this cassette came directly from him and includes all of the music but has some cuts between songs.

This set uses a new transfer of that cassette (made on different equipment than the transfer circulated in 2011) as the main source with cuts between the tracks, some drop-outs, noises and the end of Voodoo child (slight return) patched with the dub/edit of the tape that was used for the previous ATM release 0123/24. There's only one cut remaining and that occurs pre-concert before Jimi enters the stage. There's no way to be sure if Bob Terry used his original reels to dub the cassette used as the main source here, it's also quite possible that he dubbed from a safety copy. So the lineage of the main source would read something like this:

Master (multitrack) > 15ips mixdown reel (> reel?) > cassette > wav
The exact lineage of the patch sources is unknown.

The second show has been officially released.



Sunday 9 October 2016

#95 SONIC YOUTH - Walls Have Ears (Flac)

Sonic Youth - Live:
University of London - 30 October 1985
Brighton Beach - 8 November 1985
Hammersmith Palais, London - 28 April 1985

Prepared for release by the band, as a double LP, but hastily withdrawn soon after. Sonic Youth’s most superlative "bootleg" is a perfect example of their breakthrough and live sound in 1985. It was compiled from tracks recorded at three venues. The first seven tracks at U.L.U (the University of London Union), on Wednesday 30th October, followed by one track of lesser sound quality at Brighton Beach on Friday 8th November and finishing with selections earlier in the year, from the Hammersmith Palais on Sunday 28th April. The track listings have been corrected, the notes also mention two further tracks Brother Jam-Z and Killed + Kicked Off, both of these are absent from this CD version. Fully deserving of its status, every Sonic Youth fan should have this one in their collection.

01. Anouncement (2:03)
02. Green Light (4:14)
03. Brother James (3:42)
04. Kill Your Idols (4:05)
05. I Love Her All The Time (5:06)
06. Expressway To Your Skull (8:50)
07. Spahn Ranch Dance (Death Valley ’69) (7:15)
08. Blood On Brighton Beach (3:40)
09. Burning Spear (4:19)
10. Death Valley '69 (6:58)
11. Speed Jamc (1:29)
12. Ghost Bitch (4:54) >
13. I’m Insane (5:40)
14. The World Looks Red (4:51)
15. Flower (aka The Word (E.V.O.L.)) (2:52)

Silver CD rip
Running Time: 70:06

 Note that the artwork has some incorrect song titles.

Saturday 8 October 2016

#94 CURTIS MAYFIELD - Keep On Keepin' On (Flac)

Original uploader notes:

This was a "dream release" for me when I found it at the same traveling record convention I bought the Funkasaurus boot at. I had been listening to Curtis a lot at the time, since the Curtom label had re-released a bunch of recordings with bonus tracks in 2000 after his death.  I had never seen any boots of him, let alone any of this quality.  I first seeded this show at STG back in the fall of 2003 and thinking that relatively few people were familiar with him, I penned an introduction to persuade downloaders to check him out.  Little did I know, there were over a thousand fans waiting to grab it.  Since others who've re-seeded the show since have seen fit to reprint my words, I'm including them once more.  The man truly inspired me during his lifetime and continues to today.  I hope he inspires you all too.

"If you haven't heard of Curtis Mayfield, do yourself a favor and give him a listen.  If his superlative songwriting skills, smooth guitar licks and sweet falsetto vocals aren't enough to grab you, consider this; his messages of love, compassion, perseverance, and temperance are just as socially and politically relevant today as they were during the civil rights movement.  Curtis, we miss you." -- bcc32065 (Fall '03)

Curtis Mayfield
Keep On Keepin' On
(Live & Studio Rarities)

01. Keep On Keepin' On
02. We Got To Have Peace
03. Stone Junkie
04. Pusherman
05. Freddie's Dead
06. Eddie, You Should Know Better
07. We People Who Are Darker Than Blue
08. Give Me Your Love
09. Superfly
10. Freddie's Dead
11. Superfly
12. Back To The World
13. Give Me Your Love

14. Curtis on Discovery (interview)
      Curtis on Songwriting (interview)
      Curtis on Superfly (interview)
      Curtis on Politics (interview)
      Curtis on Curtis (interview)

Source: "Keep On Keepin' On" Big 'Fro Bootleg (BF-005)
Lineage: SBD > CD (Original Silver) > EAC (secure mode/offset correct) > WAV > FLAC (A)

t01-02 Old Grey Whistle Test - London England, January 1972
t03-04 Radio City Music Hall - New York NY, July 6, 1972
t05-06 In The Studio - 1972
t07-08 The Push Expo - Chicago 1972
t09-10 The Midnight Special - Los Angeles CA, 1972
t11-12 The Midnight Special - Los Angeles CA, June 8, 1973
t13 1st Annual Black Caucus Benefit, Washington DC, September 25, 1974
t14 Various Interviews

Curtis Mayfield - guitar
Master Henry Gibson - bongos & congas
Scott Harris - drums
Lucky Scott - bass
Craig McMullen - guitar

"Now is always the right time,
With something positive in your mind,
Whenever something pulls you down,
Just get back up and hold your ground."

Curtis Mayfield (June 2, 1942 - December 26, 1999)


Friday 7 October 2016

#93 NEW ORDER - Reading Festival 1993 (Flac)

Reading Festival, England
Sunday 29th August 1993

New Order put in a performance to match the quality of this, which has better sound quality than many officially released live shows. No shrill or dynamics squashing sound here. If you are a New Order fan, get this, it's a must have. Never heard their music before take a listen, you will forget you are listening to a live concert, it includes the big hitting singles, Blue Monday, Temptation and True Faith

Original notes:
At the time, this gig was regarded by many as New Order's swansong; the fact that a good proportion of the audience thought this might be the group's last-ever gig added a special frisson and atmosphere for those of us who were there. Basically it's the same set as the rest of the (fraught) '93 tour but with, I think, a bit of extra fire.

The show was broadcast in part by the BBC and other networks round the world. However, this BBC CD, taken straight from a broadcast quality CD has the songs in the right order. "BLT" and "Dream Attack" are particularly rare, not appearing on the well-known "Electronic Ecstasy" boot,, and will probably not have been heard in this quality before. This is a cracker. Sound quality is superb. All in all, one of my favourite-ever NO gigs. (there are a few references that are missing in the between-song comments )

01. Ruined In A Day
02. Regret
03. Dream Attack
04. Round And Round
05. World
06. As It Is When It Was
07. Everyone Everywhere
08. True Faith
09. Bizzare Love Triangle
10. Temptation
11. The Perfest Kiss
12. Fine Time
13. Blue Monday

Lineage: BBC Archives CD > iTunes (.WAV format) > SHN (Carbon Shorten) > TLH > WAV >Flac, level 8, align on sector boundaries

Running time: 73:17

Thursday 6 October 2016

#92 JANIS JOPLIN - The Early Years (1963-65) (Flac)

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

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

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

Janis Joplin: The Early Years (1963-65)

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

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

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

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

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

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

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

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

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

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

original notes for the upgraded tracks 1-7

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

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

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

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

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

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

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


Wednesday 5 October 2016

#91 LED ZEPPELIN - Earl's Court, London 1975 (Flac)

Earls Court Arena
London, England 

May 24, 1975

He Must Be Dazed And Confused

Led Zeppelin at Earls Court - May 24, 1975

Led Zeppelin's fourth concert at Earl's Court back in 1975 can't be described in any other way than sheer brilliance. For three hours and thirty-three minutes, they pounded a thirsty British audience who'd been starving for their return to England with a salvo of cuts from their double album 'Physical Graffiti' interspersed with their catalog of hits. Introduced by Nicky Hopkins with "your mother  wouldn't like it", it was evident right from the start of the show that the band were going to captivate their mostly youthful audience despite the fact that the cameras were rolling.

The band settled into a tight groove from the opening track 'Rock And Roll' and they never let up. Lead singer Robert Plant, with his Indian arrowhead necklace, belted out all the songs with ease with just a few hints during the show of his recovered flu from the U S Tour that ended just two months prior. Alongside Plant was Jimmy Page, dressed in a black dragon suit that made him appear at times as if he was literally on fire on either of his sides and musically, that was definitely apparent as well. With his bell-bottom cuffs engulfing his entire shoe legnth whenever he bent his legs, he fingered off a blazing guitar solo during 'Over The Hills And Far Away' all the while coming dangerously close to getting hit in the face by his own necklace. This iconic image had every male kid in 1975 wanting to get a pair of the widest bell-bottoms possible!

The Zeppelin Earl's Court marathon was full of drama and pent-up tension. Page extended his arm horizontally across the audience from left to right after he fired off the first slide guitar note verse to 'In My Time Of Dying' and he's backed up by the best rhythm section in rock that can best be described as a well-oiled machine. In fact the rhythm section was so hot I expected bass player John Paul Jones to loose one of his onions that dangled from his shoulders who's purpose is perhaps to
ward off vampires. Blood sucking vampires? No. Perhaps the press? Maybe.

As the crowd was still trying to recuperate after the first four tracks, Plant settled into a playful mood with both his band and the audience, making the comment "Well, alright Johnny Bonham!" Plant introduced the next song 'The Song Remains The Same' by commenting "if you give it, you get it back" and the adrenaline rush then flew right off the scale. The audience had been giving and so got it right back! The barrage of electrifying double-necked chords and notes peeled off by guitarist Jimmy Page throughout the song were enough to leave any of their nearest competitors decimated. This song has enough power and energy to move mountains with it's relentless sound waves and again Page has the backing band to help hammer it all home. This version is thunderous due to the ambience of the hall and Bonham's wrists.

But Zeppelin also have the ability that few other band's possess to slow it all down a bit without boring their audience (or pissing them off) while at the same time still make it exciting as in the next track 'The Rain Song'. Plant's voice echoes both naturally due to the hall's ambience and with special vocal fx. Bonham adds his signature touch by smashing his Paiste gong and Robert Plant licks his finger and forges on with the next verse of lyrics. Plant purposely stutters "Just...just...just a little rain" now and then to emphasize certain words in the song lyrics for maximum effect. This is why
a Led Zeppelin concert becomes an event. Dynamics. Light and shade. From a whisper to hell-fire.

The powerful 'Kashmir' was next after a Bonham "2...3...4" count in, with it's far east trappings that ensnare the listener throughout the song's length with it's hypnotic, addictive beat. Plant again stutters with "! Star Delight!" before he unleashes an echoed "Where I'll be!" It's worthy of note to mention the tight interplay between Page and Bonham before Plant set's about moving the track near completion with "Sure as the dust that blows high in June.....when moving through Kashmir". Although the song moved along a tad slow, it still was breathtaking as hour one finished. Plant jokes with the audience that "If you take the A449 past Droitwich and take the third turnoff on the right, it's just up the road a little with a white fence."

To kick off hour number two was the ever solid John Paul Jones who is featured on 'No Quarter'. You easily get a sense for how good he really is when the dry ice machine get's a little carried away and Mr. Jones is unable to see his piano yet still somehow manages to come away without playing a single sour note. Things only get better when he stands up and switches to another piano which ushers in a wonderful jam exchange between him, Page and Bonham which ends with the crowd going nuts. As Plant starts the final brooding verse, he stomps three times on the stage with his right foot for added drama and then belts out "They choose the path where no one dares.....oh, what misery without quarter." Plant again belts out a 'natural' repetitive echoed "Give it to me" with the entire sentence sung real fast about ten times as Page waves his arm laterally along the crowd on the last played chord. Fantastic! Talk about drama!

Up next was the wonderful 'Tangerine' as Jimmy Page played the song on the upper twelve string electric guitar and this gets a huge round of applause from the audience and they more than readily will enjoy the acoustic set which was brought back from the past but wasn't played on the 1975 U S Tour which is what makes these Earls Court shows even more intimate. The wonderful 'Going To California' was next with the multi-talented John Paul Jones on mandolin and any Zep fan can see why the band always ran to Jonesy when they couldn't quite work out how they were going to polish off a track and he's more than reliable. The joyful 'That's The Way' was next with as Plant worded it 'stage chairs supplied by habitat'. The acoustic set comes to a close with 'Bron-Y-Aur-Stomp' after Plant introduced it with "the blues as in 'clichés, toupees and three plays'. John Bonham clearly wants to sing on the track and Plant quips with "Can we have some blues from Bonzo?" Plant tells of the song's story about his blue eyed dog who 'keeps his mouth shut'. When the acoustic set is over, Plant slips out the joke "Are ya' alright, Wally?"

It's at this point in the show that one really learns just how captivating and sensational Led Zeppelin are when they unleash the next song 'Trampled Under Foot'. Guitarist Page keeps bending his left knee in order to press down on the wah wah pedal while Plant preens across the front of the camera, all the while with stage bathed in kaleidoscopic twirling lights in six different colors. It's a far-out spaced-out colorful journey. So good that you don't even want the song to ever stop! Plant fires off another natural echoed "Give it to me....give it to me.....give it to me....yeah!" followed by several senetences of 'Gallows Pole' lyrics and it fits in well with the songs driving beat. The crowd goes bonkers and are overcome with emotion when it's finished. And Zeppelin have by now surely pummeled their audience all of hour number two! No let-up.

Then it was time for the 'master of the skins' to demonstrate his proficiency at the drum stool. John Bonham pounded out another great 'Moby Dick' performance. The drum solo contains about five parts and gets rolling with snare drum and floor toms all played with sticks. But then Bonham alternates with his left hand by hitting different floor/rack toms all the while complicating the beats by stopping and then starting up the snare drum. He then cleverly places his left-hand stick on the snare drum at a 45 degree angle and then taps on it with his right-hand stick all the way down the legnth of that stick while keeping pressure on the snare head before a sudden outburst of floor toms! The next part of the solo involves knurling up his left thumb and pressing down on the top of the snare drum followed by bare-handed strikes of the rack toms and gong! For the next part of his solo, Bonham plays two tympani's with sticks and a phaser effect is added while he presses on their foot pedals. He even taps on the tympani rims and their side mounting brackets. I even caught him playing 'Whole Lotta Love' with the drums and finally Page joins him on stage as he unleashes a flurry of strikes while criss-crossing his arms! As the band wait for him to finish with a last drum strike, he stands up and twirls his sticks at them and brings the drum track to a close! What a climactic ending!

The crowd, already 'dazed' by Bonham's drum solo then find themselves at Jimmy Page's mercy in what will become a 31 minute guitar extravaganza in 'Dazed And Confused'. This half-hour plus opus has everything but the kitchen sink thrown in. It includes plectrum scrapes, wah wah, hammer-ons, pull-offs, power chords, violin bow, echo, crypton lasers, dry ice, lightening-fast high-pitched in-your-face guitar notes and enough dance moves that will seal the deal for all-time as to who the best rock guitarist in rock is. This nice spacey version includes many exploratory excursions causing Plant to comment afterwards about all it's plots and time signatures and a very eerie and lively 'Woodstock' insertion highlighted by Plant's "We are star dust. We got to get ourselves back to the Garden" (Of Eden or Madison Square perhaps!). There is nothing else in rock that compares to it whether it's the '72, '73 or '75 live versions and even all previous versions from the late 60's and early 70's. There will be one more showing next show before it is retired. Zep were looking toward the future.

The show ends with the melodramatic 'Stairway To Heaven' and this has got to be the best live version of the song ever recorded. For me the jury's still out on that one as I have yet to finish listening to every live show there is but it will probably top them all! The guitar solo is Jimmy Page at his brilliant outstanding best and it leaves one asking why this show still sits in the vaults. After three hours of no bullshit opening acts, Led Zeppelin slayed their audience and now, at the three hour plus mark, they close out this marathon with their most beloved track. The fans scream and stomp for over seven minutes before the band return to the stage for two encores. The heavy-hitting 'Whole Lotta Love' kicks off the first encore with it's James Brown 'Sex Machine' middle medley and a very striking Plant/Page theramin battle leaving all wondering whether Plant or Page won the battle. The show closes out with 'Black Dog' which was filled with energy both in the rhythm section and Page's soloing. Wow! If you're like me and can't stand watching a boring movie and only watch academy award winners or nominators, then you go ahead and apply the same with music and music videos. Who wants to waste their time watching a boring act? Then you're best directed to watch a show like this. If your co-worker or neighbor says to you "You need to get out of the 70's man", simply respond "For what? Poodle rock"? This is why Zep fans never get enough. Outstanding! Tops! (review by Kenneth Winovich)

Earls Court Arena
London, England 

May 25, 1975

Zeppelin Express Physical Rocket

Led Zeppelin at Earls Court - May 24, 1975

The final Earl's Court show, the final 1975 show, and the last ever performance of Dazed And Confused. The initial string of numbers are high powered and aggressive! No Quarter is a really great jam and the acoustic section is pretty good. Moby Dick and Dazed are rather boring however, which is sad and rather unfitting as it is the last ever performance of the latter. Stairway To Heaven was dedicated to Plant's daughter: "Carmen - this song's to a little girl who sits probably wondering what it all about ... so, where is the bridge? Well, Carmen, were's your chance to find out where the bridge is ... and if you know, please let me know after the show." The solo is wonderful and the encores contain a tortured Theremin solo from Jimmy before the extra songs are played for the last night's sake.

The band's fifth and final night at Earls Court begins with Alan 'Fluff' Freeman announcing "we are here tonight because you and I have great taste" before Rock and Roll crashes into motion. Page blazes through the second guitar solo in Sick Again. As the song ends, Plant announces "good evening and welcome to the last concert in England for a considerable time." Page shreds frantically through an excellent guitar solo during Over the Hills and Far Away. In My Time of Dying is introduced as "an old work chant." Page solos wildly as Bonzo and Jones pummel the crowd. An incredibly powerful performance, one of the best thus far.

Bonzo is on fire during The Song Remains the Same, thrashing at his drums with wild abandon as Page's fingers race across the fretboard. The Rain Song is absolutely fantastic, one of the best in recent memory. Jones's somber piano solo during No Quarter features hints of Concierto de Aranjuez. The instrumental section is an epic journey. The band receives a thunderous ovation as the piece comes to a close. The climax is reached during the blistering outro. An outstanding performance. Page plays a bit of Tea For One as Plant introduces Tangerine. Going to California is delicately beautiful. Jones's mandolin work is fantastic. Plant makes a few references to Monty Python and the Holy Grail, asking the crowd "what is a shrubbery amongst friends?" before an excellent That's the Way.

The band gets into a bit of Robert Johnson's If I Had Possession Over Judgement Day before Bron-Y-Aur Stomp. Plant gives the crowd a brief history of Johnson's life before introducing Trampled Underfoot. Page shreds erratically through an aggressive guitar solo. Bonzo is introduced as "our blood brother" before a particularly thunderous Moby Dick. Plant says a few kind words about Peter Grant before introducing Dazed and Confused as "the essence of the early Zeppelin." The San Francisco interlude is hauntingly mournful. Plant's ghostly howls echo through the arena. Page's fingers are like razor blades as he slashes and shreds through the frantic guitar solo/workout section. Plant can be heard exclaiming "amen!" off-mic during the call and response section. Page solos wildly during the outro jam. A somewhat uneven final performance of the band's signature song.

Plant dedicates Stairway to Heaven to his daughter Carmen, saying "this is a song to a little girl who sits there, probably wondering what it's all about." Page delivers an excellent guitar solo despite breaking a string near the end. Plant sings the final line in complete silence. As the band returns to the stage, Plant says "is this our swan song, I wonder?" Page hints at Ozone Baby following an excellent funky jam during Whole Lotta Love. Plant unleashes a series of blood-curdling screeches during the violent theramin freakout. Page's fingers get a bit sticky during the extended guitar solo in Black Dog. As the song ends, Plant announces "good citizens of Great Britain, it's been five glorious days... thank you very much for bein' a great audience, and if you see Denis Healey, tell him we've gone."

Plant exclaims "this is somethin' we never do!" as the band returns to the stage once again, joking "any requests?" Page blazes through the fast guitar solo during Heartbreaker. Plant pushes his voice to the limit during the final verse. The band closes the show with an explosive Communication Breakdown. Plant does his best Jamaican accent during a fantastic funky breakdown. As the band leaves the stage for the final time, he announces "thank you very much for showin' us that England is still alive and well." A fantastic finale to 1975. Must hear.