Thursday, 25 July 2019

IGGY POP - KCRW FM Session 2016 (Flac)

#11 Special Post
This is the final post in this sequence, #12 Johnny Marr will appear at a later date.

Iggy Pop is back! 'Post Pop Depression' finds the iconic rocker returning to his Berlin-era swagger,
with the help of Josh Homme from Queens of the Stone Age and an all-star group of musicians.
If you are a fan of QotSA & 'Humbug' era Arctic Monkeys, you will enjoy this.

KCRW Radio Session
FM Broadcast
Santa Monica, California.

Delayed Recording (date unknown)
Session Recorded at The Village Studio - West Los Angeles CA.
Aired: March 30, 2016

Lineage: FM > Onkyo HT-R520 > Analog Out (RCA Plugs) > Phone Jacks In >
Zoom H4n @ 16bit - 44.1 KHz > USB-2 > CD WAVE Tracking > TLH Checksums Flac.8)

01. Intro
02. Break Into Your Heart
03. Gardenia
04. American Valhalla
05. Sunday
06. German Days
07. Fall In Love With Me
08. Repo Man

The Band:
Iggy Pop: Lead Vocals
Josh Homme: Guitar, Vocals
Dean Fertita: Keys
Matt Helders: Drums
Matt Sweeney: Guitar/Bass
Troy Van Leeuwen: Multi-Instrumentalist

The DJ announces they pre-recorded the session at The Village Studio, but some sources have said it was Apogee Studios. Clarification welcomed! (Uploaded to Dime by Nibbler 2016)


Fate has a way of putting things into an interesting context. When it was announced that Iggy Pop would be collaborating with Josh Homme of Queens of the Stone Age, the music press buzzed with anticipation about the project. What would the proto-punk icon and the snarky hard rock smart guy come up with? The surprise answer is, in many respects, 2016's Post Pop Depression, an unwitting but loving tribute to Pop's friend and collaborator David Bowie. Post Pop Depression arrived two months after Bowie's death, and was completed before his health problems became common knowledge. More than anything, though, this music evokes the sound and feel of Pop's first two solo albums. 1977's The Idiot and Lust for Life were cut with Bowie in Germany as Pop struggled to make sense of his life and career after the Stooges collapsed. With the reunited Stooges gone following the deaths of Ron and Scott Asheton.

Post Pop Depression finds Iggy returning to the work he made in 1977, in ways that count the most. It is smart and thoughtful, intelligent without being pretentious, and full of bold but introspective thinking. While Josh Homme is certainly no David Bowie, he's a skilled musician who challenges Pop in a way many of his previous producers have not.

The sound of Post Pop Depression occasionally gestures to Bowie's work, with and without Pop, but Homme has given this music a personality of its own. Dark and richly textured, Post Pop Depression puts Pop's craggy but authoritative voice and intelligent tirades front and center. Homme and his rhythm section of Dean Fertita (QotSA & The Dead Weather) and Matt Helders (Arctic Monkeys) have created strong, muscular backdrops for Pop's lyrics that add to their power. They counter his thoughtful anger with sounds that are rich, cleanly designed, and a successful compliment for the star's work.

Pop has suggested that this may be his last album, and if that's true, it wraps up his career with a strong and atypical work. It tips its hat to Bowie, but also to the freedom and creative possibilities Pop discovered in their collaborative work. It confirms that Pop has never lost the ability to surprise and upend expectations. In the bitter rant that closes "Paraguay," Pop declares he wants to run away and live as "your basic clod." It's an ironic thought, closing an album that once again proves Pop never was and never will be an ordinary guy.

Tuesday, 23 July 2019

AFGHAN WHIGS - Pinkpop Festival 1994 (Flac)

#10 Special Post

25th Pinkpop festival
Draf- en Renbaan Limburg, Landgraaf, The Netherlands
May 23, 1994

As mentioned in Bootlegs of the Year, pre-reformation recordings are limited, this short 28-minute portion of the Pinkpop set in 1994 is a rarity and despite its brevity is essential listening. The radio mix is stunning and these tracks could easily be used as extras for a re-issued deluxe set.

00. Turn On The Water (end only) (0:20)
01. Be Sweet (4:03)
02. My World Is Empty Without You [Supremes cover] (5:54)
03. Debonair (4:47)
04. What Jail Is Like (3:46)
05. Who Do You Love? (0:44)
06. Fountain And Fairfax (3:37)
07. Rebirth Of The Cool (a.k.a. Miles Iz Ded) (5:37)

from the Dutch VARA/VPRO/NPS FM radio broadcast, May 23, 1994.

This recording was aired in two parts (tracks 1-3 live on the air, tracks 4-7 later the same day). The two parts have been mixed together as nice as possible.

Source and lineage (taped and transferred by Magnix): FM > Tape > WAV > FLAC level 8

Please note that this is a real FM capture, no cable, but straight from the airwaves. Also, this comes from a tape that was almost 15 years old at the time of transferring. This means that some FM and/or tape anomalies or degeneration may be present. Most has been fixed to the best of my abilities and most of this stuff is of very good quality. In this case, most of this is of excellent quality I think. (Magnix, March 2009)

Re-uploaded to DIME on April 19, 2017. Another tape from the Magnix Live Archive.


Monday, 15 July 2019

SONIC YOUTH - Berkeley 1995 (Flac)

#9 Special Post

This was part of a compilation that I had put together titled 'Analog Soul' (1985-1995) basically an alternate to 'Walls Have Ears'. It gathered together three of the best short broadcasts by the band in circulation and included the following tracks:

01. Brave Men Run (4:04) 02. Brother James (3:28) 03. Flower (3:15) from the VPRO Frontline, Radio Hilversum FM b/cast, Holland on April 1, 1985

04. Come And Smash Me Said The Boy With The Magic Penis* (3:12)  05. Magic Wand* (2:58)
06. Hallowed Be Thy Name (2:28)  07. Expressway To Yr Skull (4:53)
from the first John Peel session at BBC Maida Vale Studio, London, England on May 19, 1986.
08. Washing Machine (10:00) 09. The Diamond Sea (14:03)       
from Live 105 Green X-Mas: Berkeley Community Theatre, Berkeley, CA. on December 15, 1995 (KITS Radio FM b/cast)
To complete it I needed a live or studio session from around 1992 or 1993. I later discovered that tracks 4 & 5 of the Peel session* had been released on the Various Artists compilation 'Nothing Short Of Total War (Part One)' LP & CD (1989). Those were the reasons for it not being finished.

Nevertheless the stunning performance from Berkeley, the penultimate show on the North American 'Washing Machine' tour, deserves to be heard and is now made available on this special post.

Information on the previously mentioned bootleg 'Walls Have Ears' is here and further details on locating it are available in Bootlegs of the Year

Sonic Youth - Live 105 Green X-Mas
Berkeley Community Theatre, 
Berkeley, CA.
15 December, 1995

01. Washing Machine (10:00)
02. The Diamond Sea (14:03)
03. KITS radio interview (6:34)

No EQ, normalization or processing.  Tracks/labels created in Audacity. 
The interview took place prior to their set, with Thurston.

 Source:  FM  > Sony STR-D711 > Sony DTC-690 (LP Mode) > DAT Master (LP)
Transfer: DAT Master (LP) > Tascam DA-20 > Pioneer PDR-509 > CDR > Audacity > FLAC8


Sonic Youth began releasing recordings of old shows as part of an ongoing live archival program in  the closing months of 2018. Drummer Steven Shelley said

“Through the years and as the times changed we recorded our live shows as often as we could, on cassettes, DATs, CD-Rs and later on multi-track recorders. We now maintain an archive of hundreds of hours of Sonic Youth oncerts and we’d like to share some of our favorites.”

These are available on the Sonic Youth official site via the Concert Archive tab. 12 shows are currently available dating from 1987 to 2011.

Friday, 12 July 2019

Elvis Costello & The Roots - World Cafe 2013 (Flac)

#8 Special Post

Today two guys who take their music seriously, tell all about the new Elvis Costello / Roots collaboration 'Wise Up Ghost'. Elvis Costello and The Roots drummer Ahmir Questlove Thompson talk about making a non hip-hop album using hip-hop techniques and Ahmir admits to a little Elvis stalking leading to their working together.

We’ll hear live performances from the rehearsals for Elvis and The Roots live show at The Brooklyn Bowl, their only live show to be announced. Further information about the collaboration and live show can be found here: Brooklyn Bowl

See the document Bootlegs of the Year for information on locating the bootleg. The link for this stunning WXPN radio session & interview is below:

Elvis Costello & The Roots
The World Café
Philadelphia, PA.
September 24, 2013 (broadcast date)

Source: WXPN-FM Broadcast
Sound Quality: A+

01. intro (1:02)
02. You Bowed Down (from an earlier World Café appearance) (4:49)
03. interview (10:19)
04. Stick Out Your Tongue* (5:08)
05. interview (4:31)
06. Tripwire* (2:18)
07. interview (4:36)
08. Walk Us UpTown* (3:34)
09. interview (4:02)
10. Wake Me Up* (6:33)
11. closing (0:59)

*recorded live during rehearsals for the 'Brooklyn Bowl' concert.
Total running time 47:51

Lineage: Sony ST-S730ES AM/FM Stereo Tuner > ESI Juli@ soundcard > Sound Forge v10.0c > CDwav v1.98 > FLAC level 5

Recorded by rockcat
Originally seeded to DIME on 2013-09-27


Thursday, 11 July 2019

SIOUXSIE & THE BANSHEES - BBC Session 1995 (Flac)

As promised earlier this is the second sequence of six special posts. Up first is the last studio session that Siouxsie & the Banshees recorded for the BBC. The band released their final album 'Rapture' in 1995 before being dropped by their record company. In 1996 they split after more than twenty years together.

This is a stunning quality recording and performance.

#7 Special Post

Mark Radcliffe Session
BBC Radio One FM
Jnauary 18, 1995

01. Studio Banter
02. O Baby
03. The Double Life
04. Studio Banter
05. Falling Down
06. B Side Ourselves

The Band:
Siouxsie Sioux (Vocals)
Budgie (Drums)
Steven Severin (Bass)
Knox Chandler (Guitar) ex Pyschedelic Furs
Martin McCarrick (Cello)

Memorex dBSI 90 > JVC TD-WE91 > Realtek AC97 Audio > MAGIX music studio generation 6 deLuxe > WAV > Flac 8 > rp61hawk > DIME

"Unlike other Radio 1 programs which played pre-recorded sessions, Mark Radcliffe sessions were actually played live on the spot throughout the programme. Which also meant that we could hear any mistakes, cock-ups or the true brilliance of bands which were sometimes covered up in the production room.

But not only did we get to hear some great bands do what they did best, we got to hear some studio banter by the way of questions being fired at the band. Which at times led to some unimaginable hilarious moments.

To get an idea of how that may sound, I've included all the studio banter I had alongside the tracks.
This recording as with my other BBC Broadcast torrents has come from my own personal collection of old cassettes." (rp61hawk)


Monday, 8 July 2019

#129 PORTISHEAD - Bizarre Festival 1998 (Flac)

Bizarre Festival 1998 at Butzweilerhof, Cologne, Germany
August 21, 1998

The Bizarre Festival took place over three days in August 1998 from Friday 21st through to Sunday 23rd.

As well as Portishead's appearance on the first day, festival goers were treated to sets from Cornershop, Fun Lovin' Criminals, Green Day, Iggy Pop, PJ Harvey, Tindersticks and The Jesus & Mary Chain. Saturday featured Deftones, Goldie, Placebo, Afghan Whigs and the Cure. Sunday's hard rocking final day included Danzig, Jimmy Page & Robert Plant, Queens of the Stone Age, Rancid & Therapy.

"The Bristol trio of Beth Gibbons, Geoff Barrow, and Adrian Utley have been making albums that dramatize the paradox of staying new yet original. It was easy, or at least easier, in the beginning:

1994’s Dummy swims in the sea of possibilities that emerge from self-discovery in a private context. Nothing like them had been heard before, and they seemed to know it. 

Barrow was a sound engineer and producer barely out of his teens: Inspired by hip-hop, and by Public Enemy especially, his percussion tracks strove for turbulence, precision, and density. Utley, a seasoned jazz guitarist 14 years his elder, had studied classical composers closely: his melodic gravity anchored the sonics in a higher register. Finally, there was Gibbons, a self-trained vocalist whose lyrics, while retaining the simplicity natural to song, were closer to poetry in their free-standing, serious tone. 

A word that frequently recurs on her Dummy lyrics is side: pretending inside, being doubled up inside, realizing why this side belongs to you, taking a look from our side. Her songs about love never overlooked its difficulty, how the barriers of selfishness and silence kept people apart: “But the thoughts we try to deny / Take a toll upon our lives / Struggle on in depths of pride / Tangled up in single lives.”

Emotionally speaking, Dummy was an ordeal. Musically, however, it was soothing even in its moments of menace. Hearing a beautiful voice over tasteful production, easy listeners delved no further; their interest was enough to turn Portishead into a band, and eventually a brand. Posh dinner parties and boutiques played Portishead. The new attention came as a shock, and perhaps a bit of an insult, to the band members. 

Like a plant releasing noxious chemicals to ward off pests, their second, self-titled 1997 album pushed forward harsher facets of their sound submerged during the first. Gibbons’s lyrics had always been covertly political, but now they were confrontational as well. The melodies went angular and somber. Utley and Barrow performed odd rituals in the pursuit of authenticity: They recorded their compositions on wax, subjected the records to wear and tear, and only then did they sample them. The efforts succeeded, but only to a point. They preserved their integrity, but only at the cost of flexibility; they had refitted their old style instead of arriving at a new one. 

Their touring culminated in a monumental live album, 1998’s Roseland NYC Live, but it also wore the band members down. Barrow and Utley got divorces; Gibbons fell ill. Everyone was drinking heavily. The only honorable choice remaining was to part ways for a time, and they took it." (Frank Guan, Vulture - May 2018)

This silver disc bootleg by Roach Records (UK, 1998) features eight tracks from their Bizarre festival set and a further six tracks comprising, three rehearsals and three live tracks from their 1998 UK appearances (possibly Glastonbury but unconfirmed.)

The Setlists FM site has twelve tracks listed, with these following 'Sour Times' - Humming, Cowboys, All Mine & Mysterons.

01. Half Day Closing
02. Over
03. Elysium
04. Glory Box
05. Roads
06. Western Eyes
07. Strangers
08. Sour Times
09. Wandering Star (Rehearsal 1)
10. Wandering Star (Rehearsal 2)
11. Mysterons (Rehearsal)
12. Sour Times
13. Roads
14. Strangers

tracks 1-8: Bizarre Festival 1998
tracks 9-11: Studio rehearsals
tracks 12-14: Live UK 1998 (possibly Glastonbury but not confirmed)

Beth Gibbons - Vocals
Geoff Barrow - Decks
Adrian Utley - Guitar
Dave McDonald - Engineer in band
Clive Deamer - Drums
Jim Barr - Bass
John Baggott - Keyboards
Andy Smith - DJ