#85 THE WHITE STRIPES - The Forum, London 2001 (Flac)

The Forum,
London, England

6 December 2001

 In July and August 2001, the White Stripes performed live in the UK for the first time, their front page NME appearance and those live appearances provoked the biggest media storm of hype in years. Headlines shrieked:

"Blunk Music - The greatest band since the Sex Pistols or Hendrix (Daily Mirror)

"The best thing since Hendrix?" (The Times)

"The great White hope of pop? (The Telegraph) 

and more accurately

"Britain's rock fans make stars of US White Stripes" (The Guardian). 

The band said they were "overwhelmed" by the attention of the British media, at the time they did not even have a UK record deal.

From the distance of 15 years later, the hype seems like mid-summer madness, until you dig a little deeper and understand that big names on the music scene at that time were Papa Roach and Limp Bizkit. The Strokes and the White Stripes signalled something new, a back to basics approach to music, providing raw excitement and energy.

James Oldham of the NME described their live set as follows:

"They veer wildly from their own material, seguing into deliberate covers like Dolly Parton's 'Jolene' or Blind Willie McTell's 'Ticket Agent Blues' and occasionally incorporate a few bars of a '60s garage classic like Link Wray's 'Jack The Ripper' into whatever song they happen to be playing. Their own material is just as startling, suddenly jack-knifing from the overdriven blues feedback of 'Dead Leaves and The Dirty Ground' and 'Death Letter' to the melodic folk simplicity of 'Hotel Yorba' or 'We're Going To Be Friends'. In the space of 45 minutes, they plot a course though Nirvana, the blues, Wings, the Pixies, '60s garage, Led Zeppelin and the Kinks. It's a revelation, an amazing spectacle fuelled by defiant simplicity. They finally quit the stage drenched in sweat, looking totally exhausted. There's a brief silence then deafening applause."

And in his most prescient comment he states:

"That no one in Britain really knows who they are yet is besides the point. In a week's time, no-one will be talking about anything else."

The White Stripes would return to tour in November and December 2001, promoting their third album and most successful to date 'White Blood Cells'. Now that the two Peel sessions have been officially released, this pre-fm recording from the Forum in London is the best bootleg document of this time. Part of the set has been released on a limited picture disc vinyl record appropriately titled 'I Think I Smell A Hype.'

1. Fell In Love With A Girl
2. When I Hear My Name
3. I Think I Smell A Rat
4. Dead Leaves And The Dirty Ground
6. Expecting
7. Death Letter
8. Little Room
9. The Union Forever
10. Jolene
11. I'm Finding It Harder To Be A Gentleman
12. Hotel Yorba
13. Isis
14. You're Pretty Good Looking (For A Girl)
15. We're Going To Be Friends
16. Apple Blossom
17. I Fought Piranhas
18. Let's Build A Home
19. Astro
20. Jack The Ripper
21. Rated X
22. I'm Bored
23. Screwdriver

Source: SBD>DAT>PRE-FM>CDR>EAC>WAV>mkwACT>SHN
Quality: A+

Original note from the seeder:

I had to remove track 5, "Lovesick," from this torrent because it violates DAD/EZT seeding rules: it appeared as a b-side on the White Stripes' 2002 single "Fell In Love With A Girl" (XL Recordings/Third Man - XLS-142CD2). I wish I could torrent the complete SBD>DAT>Pre-FM>CDR version of this show but rules are rules.  I compared the SHN file from this version of this show to the FILWAG single. They sound identical. The sound quality is *that* good.  Hopefully someday the White Stripes will decide to release the entire show. Until then... CitizenGatsby

#84 THE SMITHS - Amsterdam 1984 (Flac)

De Meervaart
Amsterdam,
Netherlands

21 April, 1984

Coming off the back of the UK Spring tour, a short European tour had been arranged to promote the debut album 'The Smiths' had released in February. This show was the group's first appearance on mainland Europe, a party performance for 'Vinyl' magazine with Nick Cave as support, the next day they appeared at Brecon festival in Belgium and on the 24th in Zurich. They flew back to England for a Top of the Pop's TV appearance. On boarding the plane Morrissey announced they were not coming back.

The remaining dates in Vienna, Munich, Frankfurt, Cologne and Bremen were cancelled as Morrissey returned to his mother's home in Manchester. Scot Piering their manager claiming that "it really boiled down to the fact that they couldn't find anything decent to eat." and "It was a serious business if they couldn't get egg and chips 24 hours a day." Unable to appreciate their first tour of Europe, the next single release was appropriately titled 'Heaven Knows I'm Miserable Now'.

Fortunately Dutch radio recorded and broadcast their appearance at De Meervaart in Amsterdam. The Smiths were a much more muscular proposition live than their jangling indie reputation would suggest. Even on early shows like this one, their is a substantial rhythm on songs such as 'Hand In Glove' and 'Barbarism Begins At Home.' The mix on this helps as Andy Rourke's bass is right up front and with Mike Joyce's drumming gives the songs a really powerful driving propulsion in comparison to their studio work.

The set comprises six of the debut album tracks, plus five songs that appeared on singles, 'Barbarism' was released on their second studio long player 'Meat Is Murder' in February 1985 and finally 'These Things Take Time' appeared in November 1984 on the wonderous gatefold double LP compilation, 'Hatful of Hollow'.

If a Japanese bootlegger is seeking to produce a vinyl product from this, then please send me a finished copy as your work on the demos outtakes compilation was worthy of any official release. Finally Mr. Record Company, instead of the usual remastering and repackaging, what about a vinyl box of unreleased Smiths studio and live shows?

Setlist:
01. Hand In Glove
02. Heaven Knows I'm Miserable Now
03. Girl Afraid
04. This Charming Man
05. Barbarism Begins At Home
06. This Night Has Opened My Eyes
07. Miserable Lie
08. Still Ill
09. I Don't Owe You Anything
10. What Difference Does It Make
11. encore break
12. Handsome Devil
13. You've Got Everything Now
14. encore break
15. These Things Take Time

 FM broadcast, aired on Dutch Radio 2, 27 February 2009

Lineage: FM > Audacity 1.2.6 > CD Wave 1.95.1 > FLAC Frontend 1.7.1
Remaster: FLAC > wav > wavemerge > SF8 > AA 1.0 > CDWav > FLAC

Notes: I've pitch corrected, brought the volume up, and added the intro to Hand In Glove. This is the first time this show has been broadcast complete and in the correct order. Originally recorded and seeded by Laurens van der Weijden. Remastered by terrapinstation 2009-03-01.

#83 PAUL WELLER - Berlin 2006 (Flac)

Huxley's Neue Welt, 
Berlin, Germany

April 23, 2006

Paul Weller is a huge talent, sadly unrecognised in many countries throughout the world. He has produced terrific, diverse and inventive songs throughout a long career incorporating The Jam, The Style Council and under his own name for nearly forty years.

'As is Now' Weller's 8th solo album was heavily toured and accompanied with a live album, recorded at Alexandra Palace in North London at the end of 2005. This set was recorded four months afterwards in the spring of 2006, from a European tour promoting the live album 'Catch Flame'. It was broadcast by European radio and the FM recording has circulated for years. In fact it is still circulated by the uninformed but I can assure you, that you will not find a better upgrade than this pre-FM source. It's interesting to compare both performances. The sound quality is stunning on this bootleg and is equal in quality to the official release, perhaps better. In this smaller venue, the audience is closer, the band perform with a touch more subtlety and finesse, adding more fluidity, shade and feeling to a fine eclectic set of songs.

Accompanied by his tight, seasoned and unerringly professional band, Paul Weller struts between powerful versions of tracks from his solo studio albums and early Jam classics; Running On The Spot, In The Crowd and the UK #1, 'A Town Called Malice' that propel this bootleg into the premier league. The singles from the recent studio album, “From The Floor Boards Up” and “Come On/Let’s Go” help force the pace and energy levels up towards the youthful energy and mania, the Jam inspired in days gone by. Tempering the energy levels is the classic 80's seasonal track, 'Long Hot Summer' by the Style Council, imbued with a particularly fine and evocative performance. Another highlight, is the jazzed up version of the near 11-minute 'Foot of the Mountain' found originally on the 'Wild Wood' album.

I wouldn't normally recommend discovering an artist first through their recorded live work, but this bootleg if you are hearing the artist for the first time, will have you busily exploring a vast back catalogue. A fact that is often forgotten by those who seek to suppress the circulation of unreleased music.

Soundboard, Pre-FM recording (upgrade)

Taper: Radioeins

Lineage: PreFM Soundboard CD > EAC (logs included) > TLH (with align on sector boundaries) > flac

Running Time: approx 110:00

Sound Quality: 10+ 

Setlist:

Disc 1:

01. From The Floorboards Up   

02. Paper Smile 

03. Out Of The Sinking   

04. Science   

05. Above The Clouds  

06. Amongst Butterflies   

07. Running On The Spot   

08. Savages > 
      Fly Little Bird   

09. Up In Suze's Room   

10. Wild Wood   

11. Come On / Let's Go   

12. Porcelain Gods > 
      Walk On Gilded Splinters

Disc 2:

01. The Pebble And The Boy   

02. You Do Something To Me   

03. Long Hot Summer   

04. Here's The Good News   

05. In The Crowd   

06. The Changing Man   

07. Foot Of The Mountain   

encore: 

08. Broken Stones  

09. A Town Called Malice

 

LINK 1 

 

LINK 2 

#82 PINK FLOYD - The Best Of Tour '72 (Flac)

Rainbow Theatre,
London, England
20 February, 1972

"The Best Of Tour '72 - Restored"
Remastered From Original 1st LP Pressing

This excellent audience recording captures 'Dark Side Of The Moon' in its earliest stage. No other available from the January-February 1972 tour (in which DSotM was first performed) sounds as good as this. It still has some flaws, mainly the annoying cuts in "Time", Us And Them" & "Eclipse" but the music and sound quality is just too good to overlook.An upgrade that is by far the best sounding version of this recording. You need this whether you are an average or diehard Floyd fan. 

01. Speak to me (cuts in, only last 8s left) 
02. Breathe   
03. Travel Sequence
04. Time (cut within) 
05. Home again
06. Religious Theme  
07. Money  
08. Us & Them (cut within, misses most)   
09. Dave's Scat Section   
10. The Lunatic Song
11. Eclipse (cuts off)

Time: 40:52
Lineage: High Quality Condensator Stereo Mics -> Reel-to-Reel Master -> Mastering -> Mastered source (likely recorded on Hi-Speed Reel-to-Reel) -> 1st Pressing Vinyl Bootleg (16-421/422) -> Technics 1210mk2 with -881mk2s stylus -> Tascam DA20mk2 (A-D conversion 16 bit, 48kHz) -> PC -> Cubase SX 2.0 -> Wave (downsampled to 44.1k) -> FLAC -> Torrent

See below for clarification.
Re-Mastered @ the Soundhouse by Prof. Stoned, February 2006.

-------------------------------------

A note from the Prof.:

Today, 34 years and a couple of days after this was first recorded, I present to you all a significant digital upgrade -maybe even the definitive version- of the legendary "The Best of Tour 72" boot. It KILLS both the "Swinging Pig" and the "Original Masters Series" bootleg CD's of this album that most of you all know.
These two boots were both taken from the same inferior source which is ruined by a heavy NoNoise treatment. This is a trueful reproduction of the original vinyl bootleg and will make you hear details in the recording that you never heard before.

***About the Original Bootleg***

The content of this CDR has been carefully mastered from a rare vintage (1972) vinyl copy (strictly rated: EX), the very 1st pressing of this classic floyd bootleg, and therefore the closest source to the (unfindable) original tape. The recorded content of the original LP was handled professionally from start to finish (not counting the cuts in the recording). The sound is beautiful. A very wide stereo image with clear separation of instruments & voices. There is little hiss or distortion. The unmastered source that the bootleggers used must have been 0th or maybe 1st generation tape. The original pre-vinyl tape has had a mastering treatment with a compressor, Dolby(A) and likely some EQ-ing.

The vinyl itself is nice and thick, made to last. This could very well have been pressed at a pressing plant which was used by major record company's as well.As you can read in Clinton Heylin's excellent book "Bootleg! The Rise and Fall of the Secret recording industry" this used to happen a lot in the early 70"s, and it would explain why the bootleggers were so keen to hide the name Pink Floyd, even on the record label itself.

Although the pre-vinyl part in the source info chain is speculated, it's 100% certain that this is NOT a soundboard and/or FM. Ever since this came out, the SQ has led people to believe it is. Even the above mentioned book, erroneously stated this was taken from a BBC radio broadcast. And even to this day, this recording is way more often labelled as "radio" or "soundboard" than as what it is: "EX audience".

Enjoy, Prof. Stoned 

LINK 

Asterix2112 kindly provided the following comprehensive information below :

The original LP version of The Best of Tour 72, primarily for those older collectors who have had it for many years. A sort of emotional commemoration of another famous and time honored bootleg LP. The first edition was released on black vinyl in 1972 in Europe by the Tour 72 label.

Pink Floyd were excited to be able to develop new material on the road but were horrified to learn of a bootleg album that was released containing a complete performance of the piece recorded in February of 1972 at the Rainbow Theatre. The bootleg was issued a mere six weeks after the concert, about a full year prior to an official release. Professionally packaged, the unit reportedly sold in excess of 100,000 copies, many thinking it was the real thing. Trivia note: around this same time the Omayyad LP was released in USA.

The Best of Tour 72 had large success and was reissued and re-bootlegged many, many times due to the stunning sound quality and the full presence of unissued songs. Four songs were cut: Heart Beat Intro, Time, Us and Them and Eclipsed. We don't know why. Maybe the reason was the tape length or some problems on it or the capability of the LP to support the whole suite.  

 
The Rainbow Theatre was booked for three shows for press introduction to Dark Side of the Moon but soon a fourth show was set due to the big response. This extra show was to be played on Sunday 20th February 1972 at 8:00 p.m, for the first time the title Dark Side of the Moon was used. In "The Free Program of Rainbow Theatre, n.13"  we can read: "The Dark Side of the Moon - A Piece for Assorted Lunatics"

A month before they were in this theatre to rehearse for three days, to try the new suite together with the new mixer, the new quadrophonic system and the new light show. The suite was performed ten times around England before the Rainbow' nights. It already changed a little from first couple of nights in Brighton and Portsmouth. Eclipsed was added and more changes would occur before the end of the year.

A generation and more of fans thought this album was recorded on the 17th of February, but many years later we all learned that it was the 20th, the fourth Rainbow show.

- Titles and Songs -
The title of the boot refers to the whole small British tour of January and February 1972.

#81 TELEVISION - Double Exposure (Flac)

Double Exposure
(1974-75 Studio demos)

 

Regarded as the “Crown Jewels” of Television bootlegs. It’s unfortunate that a band so influential and culturally important has few quality sounding bootlegs available. This is one of the exceptions and gathers the late 1974 demos, recorded at Good Vibrations Studios in NYC. with Richard Hell on bass. (see first five tracks) and the August 1975 demos (see tracks 6-11) recorded with Fred Smith on bass - part of the session for Terry Ork of Ork Records. Ork released Television's debut single Little Johnny Jewel in 1975. That single was included on the expanded re-issue of 'Marquee Moon' and a more recent singles compilation.

An Italian bootleg label released this in 1992 on catalogue number DE-92SC. ‘Double Exposure’ has some low quality live tracks inserted between the two studio sessions, these have been omitted from this silver disc lossless rip. They can be found on the CBGB's and Piccadilly Inn, Cleveland, 1975 live bootlegs, in better quality, especially the latter show.

01. Prove It (4:43) 
02. Friction (4:28) 
03. Venus (3:28) 
04. Double Exposure (3:07) 
05. Marquee Moon (7:07) 
06. Hard On Love (4:28) 
07. Friction (4:33) 
08. Careful (3:07) 
09. Prove It (4:54) 
10. Fire Engine (3:12)
11. Little Johnny Jewel (7:03)

Lineage: Silver CD rip
Running Time: 50:14

#80 RADIOHEAD - Bonnaroo Festival 2006 (Flac)

Bonnaroo Music Festival,
Manchester, TN.
June 17, 2006

Radiohead’s North American tour in June 2006 comprised of nineteen shows, fifteen throughout six US states; Pennsylvania, Massachusetts, New York, Tennessee, Illinois and California. Four Canadian dates were shared between Toronto and Montreal. The tour was sandwiched between two European legs that had begun in May and would recommence in August. Bonnaroo situated on a 700-acre farm took place over three days in mid-June. The group headlined the What Stage on Saturday night, their only US festival appearance.

An epic headlining performance by Radiohead. The band debuted half of the songs that would appear on their next album ‘In Rainbows’ released in 2007. Since the inception of the Bonnaroo Music & Arts Festival in 2002, it has steadily grown in stature and is now amongst the upper echelon of festivals in the USA. Other bands on the 2006 bill included: Tom Petty & the Heartbreakers, Elvis Costello & the Imposters feat. Allen Toussaint, Beck, Buddy Guy, Damian 'Jr. Gong' Marley, Dr. John and Sonic Youth.

In an interview by the BBC’s Radio 6Music digital station, Thom Yorke described the show as “My favourite gig for years and years and years.” and for 'Rolling Stone' magazine  "When we played Bonnaroo we got such a nice vibe, a genuine good feeling from the first beat. Things like Bonnaroo give you hope... I met Phish, most of their people are involved in Bonnaroo. And it's great. I dream to take some of that vibe and take it around the country."

A show that is considered by many, to be Radiohead’s best live performance, this two and a half hour set was generally agreed upon as the highlight of Bonnaroo 2006.
 

The mixing of the recording was done by Paul Phipps, who said, via RadioheadBonnaroo.com:

“It's hard to believe this was over 5 years ago, but a friend of mine was running sound that night. He snagged the 2-track master from the board and handed the raw WAV over to me. I felt like I scored the mix of a lifetime. I've spent twenty years behind mixing consoles and mastering is one of my fortes, so I couldn't wait to pull the best out of this one.

After two months of wrangling, I finally came up with a mix that I loved. Everything is crystal clear. I have heard every "official" Radiohead live release and none of them sound this clear. After 5 years of keeping this to myself, I had a talk with my friend and he gave me to the OK to go ahead and release this to the public on the 5th anniversary of this awesome show.

I really tried to focus the attention on the individuals, breaking it apart so you can hear everyone. The show improves as it goes, with the first couple songs being a bit rough, they settle in and the last ten songs are completely spot on and wonderful.

The arrangement to Bodysnatchers is a bit different from the album version. You can tell they were still working on it. This is the best Radiohead live recording you will ever hear. Quality. Performance. It's all here.My personal favorite from this show is Videotape. I like this version over the album version so much more. So passionate. Just amazing.” 

Mastered by Paul Phipps. Paul also develops music apps for Android under the company name Semzo Multimedia.

Setlist:
01. There There 
02. 2+2=5 
03. 15 Step 
04. Weird Fishes/Arpeggi 
05. Exit Music (For A Film) 
06. Kid A 
07. Dollars & Cents 
08. Videotape 
09. No Surprises 
10. Paranoid Android 
11. The Gloaming 
12. The National Anthem 
13. Climbing Up The Walls 
14. Nude 
15. Street Spirit (Fade Out) 
16. The Bends 
17. Myxomatosis 
18. How To Disappear Completely

Encore:
19. You And Whose Army? 
20. Pyramid Song 
21. Like Spinning Plates 
22. Fake Plastic Trees 
23. Bodysnatchers 
24. Lucky 
25. Idioteque 
26. Karma Police

Encore 2:
27. House Of Cards 
28. Everything In Its Right Place

Musicians:
Thom Yorke – lead vocals, guitar, keyboards, piano
Jonny Greenwood – guitar, keyboards, synthesizer
Ed O'Brien – guitar, percussion
Colin Greenwood – bass guitar, keyboards
Philip Selway – drums, percussion

The 2-track soundboard recording was given to Paul Phipps, who using twenty years of experience behind mixing consoles, spent two months mixing and mastering the raw recording to his satisfaction. It was originally circulated in mp3 format but this is the lossless version. 

Lineage: SBD > two track master WAV > Paul Phipps mastering > FLAC 
Sound Quality: 10+

 LINK

Password for this is:

 reddit.com/r/radiohead

#79 THE WHO - Fillmore East 1968 (Flac)

Fillmore East
New York

6th April 1968

This recording is from the second night of the Who's debut* at The Fillmore East in New York city. Located in the old Village Theatre in the East Village, the Fillmore had only been open for business less than a month, when Roger Daltrey, Pete Townshend, John Entwhistle and Keith Moon took to the stage for this explosive performance.

It was recorded for a possible official live album: The Who Live At The Fillmore East, but like many intended live albums (Traffic for example) never saw the light of day. You can sample part of the live performance on this high quality bootleg.  (* The Who played at the venue four months earlier when it was known as the Vilage Theatre)

1. Summertime Blues
2. Fortune Teller
3. Tattoo
4. Little Billy
5. I Can't Explain
6. Happy Jack
7. Relax
8. A Quick One While He's Away
9. My Way
10. Shakin' All Over
11. Boris The Spider
12. My Generation 
Live at the Fillmore East, New York, 6th April 1968

bonus tracks
13. Short Medley: Heat Wave/So Sad About Us (with French DJ's voice over) I'm A Boy
14. Substitute
15. My Generation
Live At The Pier Pavillion, Felixstowe, UK, 9th September 1966
(Taken from French TV "Seize Millions Des Jeunes" avec DJ Emperor Rosco, broadcast 18th October 1966)

Lineage: Silver CD -> WAVE (Exact Rip with xACT) -> FLAC (Level 8, xACT)
Silver: Sunrise SB-0012

Notes: Artwork, FLAC Fingerprints, MD5 Verifcation File, Rip Log are all included.
Some boots from Fillmore East, April 1968 carry the wrong date.  This particular boot is from the 6th April.  According to the Concert File book (by Joe McMichael and Irish Jack Lyons) My Way was played on 6th April but not on 5th April.  There are also other references in the Concert File book that make the date for this show accurate.

Liberated by: scirius
Brought to you by: Long Live Rock

#78 DAVID SYLVIAN - Hammersmith Odeon, London 1988 (Flac)

Hammersmith Odeon,
London, England.
30th May 1988
Soundboard recording

 

The best available recording from the 'In Praise of the Shamans - an 80 day tour of the World' and one that is well known by fans. It is a show that deserves wider recognition, if you appreciate Roxy Music, David Bowie, Talk Talk or the Blue Nile, then this is a bootleg you will enjoy. An extremely high quality and classic performance, the brass instrumentation is inspired and fans of jazz will surely find something to savour in Mark Isham's haunting delivery.

In the late 1980's David Sylvian stopped making solo records and became more interested in collaborative work than in his own music, most notably with Holger Czukay (Can) and Robert Fripp (King Crimson). He underwent a personal crisis that had gathered momentum during this tour. He found himself unable to work alone and sought help through working with others. After professional help and meeting Ingrid Chavez, star of Prince's Graffiti Bridge, who would become his wife, he began working on his next solo album. The follow up to 1987's 'Secrets of the Beehive', it would finally be released in 1999, titled 'Dead Bees On A Cake'. 

This live set encompasses four tracks apiece from David’s four solo albums to date, including the complete 1985 single ‘Words With The Shaman’ beginning with the first two parts and closing the show appropriately with the final part ‘Awakening’. Mark Isham contributes a track ‘The Grand Parade’ from his new album ‘Castalia’.  This bootleg is a perfect snapshot of Sylvian's first solo live tour. I listened to it regularly for months, at the same time exploring David's solo catalogue. I owned two Japan LP's bought on release in the early 80's and like many never listened to his solo work, big, big mistake. If you enjoy this may I recommend your next audio experience to be the previously mentioned official releases. After these there is much more to explore backwards or forwards, from one of the most individual and under-rated back catalogues in popular music.

Disc One:
01. Ancient Evening (8:09)
02. Incantation (5:14)
03. Orpheus (5:04)
04. Before The Bullfight (9:24)
05. Taking The Veil (5:02)
06. Weathered Wall (5:51)
07. The Boy With The Gun (5:57)
08. Riverman (11:36)
09. The Grand Parade (Mark Isham) (4:32)
10. band introduction (1:29)
11. The Ink In The Well (5:05)
12. Nostalgia (6:52)

Disc Two:
01. Forbidden Colours/Backwaters (5:41)
02. Brilliant Trees (12:08)
03. Steel Cathedrals (8:15)
04. Let The Happiness In (7:37)
05. Gone To Earth (9:22)
06. Awakening (5:44)

Musicians:
David Sylvian - keyboards, guitar and vocals
Steve Jansen - drums and percussion
Richard Barbieri - keyboards
David Torn - lead guitar
Ian Maidman - bass and percussion
Robby Aceto - guitars and keyboards
Mark Isham - flügelhorn, trumpet, soprano sax and keyboards

The source files were affected by a lot of saturation clicks/crackles due to a non perfect analog to digital transfer process. These issues and some minor problems were repaired. This is the rdwm 2015 revision and the best source of this sublime show.