Wednesday, 21 June 2017

PRIMAL SCREAM - XTRMNTR LIVE 2000 (Flac)


PRIMAL SCREAM - XTRMNTR LIVE 2000
Bootleg of the Month - May 2017 


BBC Radio 1 FM broadcast
'Lamacq Live' / 'Evening Session' programme.BBC Maida Vale Studios, London.
Broadcast on 20 March 2000


Only 'Blood Money' and Mani's track, 'Keep Your Dreams' are missing from this explosive live set. A promotional appearance for the forthcoming Xtrmntr tour, it was recorded in front of a small audience at the BBC's renowned Maida Vale studios in London.

I heard this when it was initially broadcast in March 2000 and bought a ticket for the tour, the following month. My lasting memories of the show were of the green lights that swathed the stage and the hammering thundering drums of 'Kowalski' as Bobby Gillespie leaned on his vocal stand, John Lydon style and screamed "Kowalski in Vanishing Point, Vanishing Point, Vanishing Point". (pardon the pun and don't forget to see the movie)

The album and single 'Accelerator' were Creation Records final releases, Xtrmntr the first classic album of the new millenium. Once you've heard 'Kowalski' and 'Burning Wheel', you will also be looking for the 'Vanishing Point' album released in 1997.

This BBC Radio 1 FM broadcast is as fine an example existing of how they sounded live. You really do need to 'Turn It Up' when listening to this one. It could not be more different than my last two posts. A real raging, controlled blast of aggression, year 2K style and entirely relevant in 2017.

Xtrmntr drew strong reviews, like the following:

"XTRMNTR is a biting condemnation of government, capitalism, and complacency filled with both damning lyrics and beautiful noise. "Insecticide shots for criminal cops/All jails are concentration camps, all judges are bought," rails Gillespie on the fiercely funk title track. 
Such diatribes are expressed over throbbing electro-funk rhythms, computerized firestorms, and impulsive stabs of free jazz -- imagine Rage Against the Machine as a techno band. 

In contrast to Primal Scream's best-loved album, the definitive Madchester rave-rock platter 'Scramadelica' the angry XTRMNTR builds upon the urgency and claustrophobia of the band's 1997 album, 'Vanishing Point'. 

"Blood Money" is a stealthy, horn-embellished instrumental that would have made the perfect soundtrack to a William Burroughs spy film. 
"Swastika Eyes" is a pulsing, industrial-disco barrage, and "Accelerator" sounds like the Stooges crossed with My Bloody Valentine -- in fact, MBV front man Kevin Shields provides production assistance on several tracks (as do the Chemical Brothers and the Automator), including the droning, mesmeric "Shoot Speed/Kill Light. Rarely have political albums sounded this disorientingly wonderful."

Setlist:
01. Swastika Eyes
02. Shoot Speed, Kill Light
03. Pills
04. Burning Wheel
05. If They Move Kill 'Em
06. Insect Royalty
07. Kill All Hippies
08. Exterminator
09. Kowalski
10. Accelerator

Time: 45 minute 16s

Lineage: BBC Radio 1 FM > ?? > Traded CD-R > EAC > WAV > CoolEdit (manual removal of gaps) > WAV > TLH (SBE fix) > WAV > TLH > FLAC 8 & .ffp



 

Saturday, 3 June 2017

THE WAR ON DRUGS - In Session (2014)

There didn't seem to be a bootleg of the month forthcoming in May. So this post was prepared in response to that possibility. Inspired by the new 11-minute War On Drugs single 'Thinking Of A Place'. I had spent sometime re-listening to these two radio sessions from 2004. As it turned out, the best bootleg for May was downloaded on the 31st, there was too little time to include it in this post and it will be withheld until later this month.

In 2003 vocalist, songwriter and guitarist, Adam Granduciel moved from Oakland to Philadelphia and met Kurt Vile - also a fellow multi-instrumentalist. Sharing the same musical interests particularly Bob Dylan they became firm friends and began working together as Kurt Vile and the Violators.

Adam's own project The War On Drugs officially began in 2005 but it would be sometime later, that the duo released their debut EP titled 'Barrel Of Batteries' in 2008. Later that year a full-length album 'Wagonwheel Blues' was released.Kurt Vile followed this up shortly after with his own debut, titled 'Constant Hitmaker' before focusing on his own solo work. He signed to Matador Records and over the following two year period released two albums and some EP's, all featuring his friend Adam Granduciel, who had continued to perform live as part of the Violators.

In 2011 the War On Drugs second album 'Slave Ambient’ was released to critical acclaim, appearing on the best albums of the year lists, side by side with Kurt Vile's own album 'Smoke Ring For Halo, on which Adam also appeared. 'Slave Ambient' broke the War On Drugs to a wider audience. Vile contributed guitar on two of the album's tracks. Much like the Hold Steady before them, they have assimilated these influences and synthesized their own fresh identifiable sound and perspective.

The third album 'Lost In The Dream' was released in March 2014 and built further on that success with positive and enthusiastic reviews. To promote the album, the group set out on a national US tour. Before playing at their next scheduled stop at the Neptune Theatre in Seattle, earlier that day, they dropped in to KEXP and recorded the session and interview included here. It was broadcast in 16 bit lossless.

The group are:

Adam Granduciel: guitar, vocals
Dave Hartley: bass
Charlie Hall: drums
Robbie Bennett: keyboards
Anthony LaMarca: acoustic guitar (also keyboards, not this KEXP session)

The interview by DJ Cheryl Waters was particularly illuminating, and the most salient questions and answers with bandleader Adam Granduciel follow below.

Adam, I know that the new album was born out of a difficult period in your life and maybe you've put all of that emotion in the record, but do you feel that there is a difference between this and 'Slave Ambient'?

"Definitely I guess I just wanted to be more disciplined with writing and recording. I wanted to showcase what the live band had become over the years. 'Slave Ambient' made us, like it forced us to tour for a year and a half and become a band. We were learning how to play together but also re-interpreting these songs. They weren't solo recordings but they also weren't band recordings. I really liked the way that the band changed the way that those songs happened live. 

So for the record I wanted something that could do that again, and really play to everyone's strengths in the studio. Without really, maybe making a band record the same way, that you'd think, you want to make one. So it's still the same kind of recording approach but just with the idea in mind, that I wanted Robbie to play beautiful piano and Dave to play all the sweet bass. To bring Charlie in on songs that I thought were right up his alley, anytime that happened it always transformed the recording."

I heard that you had a long time, like a year, to make this record, writing and recording it. Is that true?

"Yeah, all the songs I started in my home studio between June and December of 2012. They were all kind of sketches or just sparse, pretty loose structures and then I spent for the most part of 2013, overdubbing and stripping away and re-doing stuff."

Was that a luxury? Did you ever have that much time to work on music?

"Well 'Slave Ambient' took a long time too but it wasn't the only thing I had to do. This time around, this was the only thing. It was a luxury, it was different, with 'Slave Ambient too I realized that I couldn't make a record the way I had made that one again and I don't think I could make one, like the way I made this one. I think personally the goal is to just try to get to a point, where you can sit in a room with your band and make a record in maybe a few months. Live as a band, like all the records we love so much but I think it's a process trying to get there."

I get the idea that song writing is maybe more of an intensive process for you?

"Sometimes it's just a matter of exhausting all the possibilities. I mean pretty much all of the songs on this record were built up from all the stuff I started at home. We'd build them up and take them to the studio, just kind of build them up as we go. There wasn't really a moment when we were all together in a room playing a song. Some of the songs were written fairly quickly, 'Eyes To The Wind' I wrote that in my kitchen in like a few minutes strangely enough, but the finished recording of that took about a year. When I first had the idea I knew what the song meant to me. I knew it had a feeling, like a magic about it. I guess the recording process is about trying to unlock that feeling and also make it sound huge but also try to hold on to whatever like little naiveties, when you first had that little idea."

Do you know when you hear that magic? That seems to be what's going on with people with this album; you've just really hit it on every song. Do you find yourself questioning over and over or changing things all the time?

"Yeah, I usually know when I start the song in my house and I listen to it for days and days in a row, it's like the only thing I can think of, it might be really sparse but I can hear what the mood is. Like in that first song we played 'An Ocean In Between The Waves' that was like, it started off super raw in my house, just an organ, some guitar, a drum machine but I just knew it had something important. We were trying to chase that for a long time. How do you keep this beautiful little sound but also make it full band arrangements, because that's what I want. I want songs that sound like what this band sounds like."

You've got a lot of shows and quite a tour ahead of you?

"We do actually, we just drove from Denver to Seattle (1,333 miles / 2,145 km), we did that yesterday, pretty much. We have all the West Coast; Portland, San Francisco, LA, San Diego and over to Europe in May."

Later in the year, the band toured Europe for a second time, before flying off on their debut tour of Australia. The Studio 105 session in Paris was recorded in front of a small invited audience, as part of the promotional commitments on that second European tour. The live sound on this is different from the KEXP session, more like that of the tour where the keyboards have greater prominence.

The War On Drugs
Studio 105, Maison de la Radio, Paris, France
1st November 2014
Excellent FM


Broadcast by France Inter radio: November 1, 2014 on the "Coming up sessions" show.

01. Eyes To The Wind
02. Burning
03. An Ocean In Between The Waves
04. Under The Pressure
05. In Reverse
06. DJ and band introduction
07. Red Eyes
08. Suffering
09. Coming Through
10. I Hear You Calling (cover  Bill Fay 1971)

Lineage: Marantz tuner with a Zoom H4 > Sd card to PC, wav to Audacity (volume and tracks), FLAC (TLH)Original upload by letsgo - November 2014


 
The War On Drugs
In Studio Performance
KEXP-FM
Seattle, WA
March 28, 2014

01. intro
02. An Ocean In Between The Waves
03. chat
04. Eyes To The Wind
05. interview & band intros
06. Red Eyes
07. chat
08. Suffering
09. outro

Source:  KEXP-FM Windows Media stream @ 1.4Mbps > Sound Forge Pro 10.0a @ 24 bit/48 kHz
Recorded and transferred By:  Dennis Orr

Transfer:  .WAV > Sound Forge Pro 10.0a (fades & normalize) > CDWav (tracking) > iZotope MBIT+ (dithered and downsampled to 16 bit/44.1 kHz) > Trader's Little Helper (level 5) >
FLAC > TagScanner 5.1 (tagging)






Monday, 1 May 2017

Bootleg of the Month - April 2017

TINARIWEN - The Invisible Wind Factory, Liverpool - 2017

Lopa Kothari presents a concert from Liverpool by Tuareg desert rock band Tinariwen. The band formed in the mountains of the Sahara over 30 years ago, and their distinctive guitar grooves have spawned a whole genre of "desert blues". This concert was recorded last month in front of a packed house at the Invisible Wind Factory, a converted warehouse in the North Docks area. Lopa also talks to vocalist and guitarist Abdallah Ag Alhassane about how the band fuse traditional Toureg music with rock and blues, to express powerful lyrics about the problems of their home land in the Sahara since new borders were established in the 1960s. Lopa is also joined by Andy Morgan, who is writing a book about the band, and who provides an overview of their development and their significance in the wider context of Malian music.

This was recorded from the BBC Lossless stream currently being tested on Radio 3 - the sound quality is stunning.


Tinariwen - In Concert
The Invisible Wind Factory,
Liverpool, England
March 7, 2017

BBC Radio 3 Lossless FLAC broadcast

* Includes 9 tracks from their current studio album 'Elwan' performed live.

Disc One:
01. intro               
02. Tinde        
03. Nizzagh Ijbal*             
04. talk               
05. Issekad
06. Tifawt
07. Tamiditin Tan Ufrawan        
08. Kel Tinawen
09. Ténéré Tàqqàl*
10. talk with Andy Morgan       

Disc Two:
11. intro               
12. Chabiba            
13. Ittus*                
14. Tamatent
15. Talyat*            
16. Assawt*            
17. Lucy Kothari introduces Ibrahim Ag Ajhabib
18. Sastanàqqàm*            
19. Nannuflay* / Tiwayyen*       
20. Imidiwan N-àkall-In*        
21. Lucy talks           
22. Cler Achel / Ourshan         
23. Chaghaybou            
24. outro               

Lineage: BBC lossless flac stream 723kbps - 48k /16bit flac / i-sound win7 / 10) / adobe audition cc > Tracks > export as 48k/16bit Flac

dbPoweramp > Wav > 16bit 44kHz flac



Musical veterans of the Sahara Desert, Tinariwen came to Liverpool to mark the start of the 25th anniversary of the African Oye festival and to promote their new album, Elwan. Set up by the team of people behind the legendary Kazimer music venue and club, and situated on the north docks on Regent Road, The Invisible Wind Factory is an interesting and vibrant gig space. It has an audience capacity of 1200 with high ceilings due to it being two old warehouses connected together, a unique lighting rig and a customized P.A. system. In the venue, there are areas separated by blackout fabric, and not only is it a music venue; it is a creative hub with a studio for artists, music production facilities, quirky avant-garde mobile art structures and an outside seating area.

Originally known by their fans as Kel Tinariwen (in the Tamasek language, this means “The People of The Deserts” or “The Desert Boys”), the formation of the group took place in Algeria in 1979, led by Ibrahim Ag Alhabib, a Tuareg musician of north Malian descent. By 1985 they had moved to Libya and had participated in military training both under the Libyan government and later by leaders of the Tuareg rebel movement. They then formed a musical collective (with lyrics which focused on issues affecting the Tuareg people) becoming known just as Tinariwen. During this period of time they made the D.I.Y. recordings that were circulated across the Sahara Desert Area.

In 1989, they had moved to Mali and, by 1990, had taken part in a revolt against the Malian government. After peace was agreed in 1991, the group became full-time musicians and a decade later gained attention from Western audiences. They ditched their camels for a tour bus and began playing at a wide range of festivals, such as Glastonbury in the UK, Roskilde in Denmark and Womad Festival, also in the UK. In 2005, they received a World Music Award from the BBC, and, in 2012, they won a Grammy Award for Best World Music Album. Over the years, Tinariwen have continued to evolve, creating an everlasting lifespan by introducing younger members to the band.

Tinariwen’s music is powerful and passionate, reflecting many moods, both acoustic and electric, ancient as well as being contemporary and modern. They have a ton of influences, from African and Arabian to fusions of western rock and pop.

Tonight’s set was varied, full of light and shade that gradually built up and down throughout the late evening, switching from a crescendo to a mellow serene swirl and back again. Nomad music, infectious, hypnotic timbres and summery harmonies filled the old converted mill.

Overall, it was a fantastic performance and, although an acquired taste (having routes outside of western culture), Tinariwen are one of the most successful and original world music acts, and one of the most recognised rebel bands in the world.
Tinariwen at Invisible Wind Factory, Liverpool reviewed by Adam Hassan


 released 10 February, 2017 (Wedge‎ CD00117)



Friday, 31 March 2017

Bootlegs of the Month - March 2017

Already we pass into the second-quarter of the year. It seems to have been a relatively quiet time so far on the bootleg front. At least that had been my initial thoughts but on checking last year's notes I had accumulated a similar amount of boots, by the beginning of April.

This year, so far twelve are worthy of a place in the best bootlegs of 2017. I had mentioned the New Order stash tapes in 2016's document. Thanks to the cyclical nature of available downloads, a further four New Order titles were gratefully added to my collection, including the previously deleted 'Perth' tape - surprisingly hearing it again, it did not sound such a train-wreck performance as I had recalled.

Of the four, 'Live at Central London Polytechnic,' 6th December 1985, is undoubtedly the best. It consists of both the soundcheck - note those Joy Division classics - followed by the complete gig.

Earlier in the month I had acquired a few more BBC radio sessions. Of those, the band I am including here, Felt, surprisingly never recorded a session for the famous late BBC Radio DJ John Peel. He did play them albeit infrequently but the band strangely never captured his imagination. If you enjoy the crystaline guitar sound of 80's indie, then I guarantee these three BBC radio sessions will be on repeat play.

Finally we have a lossless rip of one of the rarest releases by the Verve, Voyager 1 released on vinyl in 1993. 


FELT - BBC sessions (1984-86)

01. Dismantled King Is Off The Throne
02. Roman Litter
03. Vasco Da Gama
04. Crystal Ball
Janice Long BBC Radio One session #1 - 30th September 1984

05. Caspian Sea
06. The Day The Rain Came Down
07. I Didn't Mean To Hurt You
08. Ballad Of The Band
Janice Long BBC Radio One session #2 - 12th February 1986

09. When The Dawn Starts Creeping In
10. Rain Of Crystal Spires
11. All The People I Like Are Those That Are Dead
12. Sapphire Mansions
Andy Kershaw BBC Radio One session - 11th September 1986

No lineage was supplied but these are from the FM master recordings.

 



NEW ORDER
Central London Polytechnic, London
December 6, 1985

soundcheck
01 Atmosphere (instrumental)
02 Atmosphere
03 She's Lost Control (breakdown)
04 She's Lost Control
05 As It Is When It Was (breakdown)
06 As It Is When It Was
07 Bizarre Love Triangle (breakdown)
08 Bizarre Love Triangle
09 Love Will Tear Us Apart (instrumental)

gig
10 Atmosphere
11 Dreams Never End
12 Procession
13 Sunrise
14 Lonesome Tonight
15 Weirdo
16 586
17 The Perfect Kiss
18 Face Up
19 Age Of Consent

The soundcheck tracks are from a different source than the gig tracks (EQ and tonal qualities differ)

This gig is ranked by many New Order fans to be in their top ten gigs of all time, and in fact many consider this to be by far the best of the 1985 soundboards.
There are three sources: This (the best), the second is heavily noise reduced and encoded and finally a portion of the show was made available in the mid-to-late 1980's on a vinyl LP titled "More Than Despair".

Source: ATR-STASH mixer (?)
Lineage: SBD (ATR-STASH tape) > ??? > FLAC via Sam (lammah) > SoundForge (pitch correction, glitch removal, missing bits patching, levels, remove old SBEs) > > CD Wave (re-tracksplitting) > FLAC > you


THE VERVE - Voyager 1 (1993)
Live in London & New York, 1992
Soundboard


This album was compiled from live recordings in London and New York City during 1992. Only 1,000 vinyl copies were pressed in clear blue vinyl. Of these, 300 were damaged during transportation from the UK to the USA. This ensured its status as an extremely rare collectors item.
There are some black vinyl pressings but it is unknown how many of these are in existence, as you can imagine there are also many bootleg copies now circulating.

The release has acquired a mythical semi-official bootleg status and has been catalogued as partly unofficial! and also described as an official 'bootleg'.

'dockellisrecords' has this to say about the album:

"Out of the blue, my shop was offered this 'Verve - Voyager 1' live LP. Turns out it was a promotional tool made to look like a bootleg. We were told there were 1000 pressed up. First I ordered 25 copies. Sold out immediately. Then another 25 copies. Same thing. We sold 100 copies in about 4 months and then they were gone. About six months later I got a call from someone at Caroline Records letting me know 173 copies were found in a warehouse in LA. I know some were ruined by heat. I asked if I took them all, could they give me a better deal, they did and I scooped up the remaining stock. We eventually sold them all, meaning out of whatever the original pressing on blue vinyl that were not destroyed, we sold nearly 275 of them. Easily the best selling record ever at my shop. There are a lot of these in the Detroit area."

'dockellis' has given the best description of what this release actually is - a promotional record made to look like a bootleg and used to promote the band on their debut US tour.

The covers were created by Brian Cannon, the founder of 'Microdot' who also produced some of the best early Verve, Suede and Oasis artwork.

Note that Wiki states four of the tracks appear on other Verve albums or EP's. This is misleading and incorrect, the songs do appear on other Verve releases, but as their studio versions and not these live tracks. One of the tracks, 'South Pacific' was released on an official CD compilation "Volume Seven" in 1993.

A reviewer declared:

"The Verve were really only at this peak in the early '90s because their music, at its height, didn't seem to be humanly possible, but just for a brief moment they existed outside the realm of the rock genre."

01. Slide Away
02. Gravity Grave
03. One Way To Go
04. South Pacific
05. Already There
06. She's A Superstar

Lineage: From a vinyl rip of the original release






Tuesday, 28 February 2017

Bootleg of the Month - February 2017

BROADCAST - BBC Radio & TV Sessions
(1996-2000)


01 The Note
02 Untitled
03 Forget Every Time
04 The World Backwards

05 Come On Let's Go
06 Look Outside
07 The Book Lovers
08 Lights Out

09 Long Was The Year
10 Echo's Answer
11 Where Youth & Laughter Go I Am Not Welcome

12 Until Then (cuts in)
13 Come On Let's Go
14 Look Outside
15 Papercuts

16 Come On Let's Go
17 Unchanging Window

tracks 1-4 John Peel session #1 BBC FM Radio 1 broadcast - 6 October 1996
               (recorded at Maida Vale 4 studio in London on 15 September 1996)
tracks 5-8 Steve Lamacq session BBC FM Radio 1 - March 1997
tracks 9-11 John Peel session #2 BBC FM Radio 1 - 9 February 2000
               (recorded at Maida Vale 3 studio in London on 23 January 2000)
tracks 12-15 The Queen Elizabeth Hall, London BBC FM Radio 1 - 20 June 1998
tracks 16-17 Later with Jools Holland, BBC2 TV broadcast - 20 May 2000

Lineage: CDR received in trade > Soundforge WAV > dBpoweramp Music Converter FLAC

 Around the year 2000, several albums showcased electronic music, the most well known and controversial of these was Radiohead's album 'Kid A'. It continuously cropped up on critics lists because it defined the dread, alienation, anxiety, and malaise of the digital era in the new millenium. Another album also spoke of these same themes, the band was called Broadcast and their debut album was titled ‘The Noise Made By People’. Unlike Radiohead, Broadcast were subtler, more rhythmic, and worked in a less obscure medium. Coming some four years after the group's initial single release, the debut has attained a striking classical timelessness. It has a delicate balance between the electronic experimentation and the crystalline elegance of film scores (especially the swinging basslines and jazzy percussion of the '60s). Floating above this is the ethereal vocals of siren Trish Keenan.

This set is an excellent introduction with six radio session performances from their debut. Influences from Portishead are apparent but this music has a softer and warmer edge to it.

These three BBC Radio One sessions were culled from broadcasts between 1996 and 2000. The bonus tracks were taken from a live appearance for the John Peel curated Meltdown Festival at the Queen Elizabeth Hall in London 1998. Four of the eight tracks performed live are included here. The two final tracks were taken from a BBC2 television appearance, Later with Jools... these are in slightly inferior audio. The inclusion of the third John Peel session from 2003 would have made this set more comprehensive. At present a lossless version does not circulate. Despite that, this is still one of the best Broadcast bootlegs available. I also rate highly their Black session and the VPRO performance in Amsterdam, both from the year 2000.

 
John Peel session #3
(mp3 320kbps)

01. Pendulum
02. Colour Me In
03. Minim
04. Sixty Forty

Recorded 24 July 2003 - Maida Vale Studio 4, London, England
Broadcast 19 August 2003 - John Peel show, BBC Radio 1 FM 

Thursday, 2 February 2017

BOOTLEGS of the Month - January 2017

Prior to downloading this show, the best sounding complete live Mescaleros set I had heard was the famous Benefit Concert (Firefighters) at Acton Town Hall in London, from November 2002. In fact it originally featured as the second post on the blog in 2011. It was then removed with some others, during a restructuring of those that had been officially released during the blog's lifetime. It's now available as a digital download from Hellcat Records and also on a limited Record Day vinyl release.

The following show was discovered over the Christmas/New Year holiday break and has been selected as one of the best bootlegs of the month. January is often a quiet time and this year was no exception. The best bootlegs for each month (assuming there are any) will be subsequently posted throughout the year.

Joe Strummer, former frontman of the Clash, took to the road with his band the Mescaleros, for promotional work and live dates to publicise the release of their second album 'Global A Go-Go'. The album was released by Hellcat Records/Epitaph on July 24, 2001.

After a set of in-store appearances and a one-off show in Los Angeles on August 4, the Mescaleros returned to North America in October 2001 for a limited set of shows. The North American tour was followed quickly by a short five-date UK tour, during November 2001. I was fortunate to be present for one of those shows. It was the second time I had seen the Mescaleros and when Joe took to the stage, he strode on wearing a suit, earning immense cheers and surprise at his attire. The set list was similar to this earlier show from the Key Arena in Seattle, Washington on October 17, 2001.

Where this live recording has been previously posted, the lack of source details must surely have caused many to overlook it, believing it to be an audience recording. It is either a soundboard or FM recording and has an excellent mix. I have seen it noted as an FM broadcast on old trader's lists and some compression is noticeable on the louder uptempo numbers. Limited quality recordings are available from this tour and for those reasons I recommend it to any Clash fan.

The radio interview is a bonus track and was broadcast by the BBC earlier in the year on May 24, 2001. Joe can be heard discussing Bob Dylan's 60th birthday, along with Stevie Wonder and a rather snobbish BBC presenter, who allows Joe to sing brief snatches of 'Blowin' In The Wind' and 'Just Like Tom Thumb's Blues'

Interviews with ex members of the band mention they had misgivings over the quantity of Clash songs included in the set lists of this tour. Here there are only three Strummer/Jones compositions. The new Mescaleros album has eight of its eleven songs performed live. Most of the 'Clash' songs were actually covers of some of Joe's favourite reggae tunes.


JOE STRUMMER & THE MESCALEROS   
Key Arena, Seattle, WA.
October 17, 2001

Soundboard / FM
Lineage:  Trade > CDR > EAC > WAV > Traders Little Helper > FLAC

CD1:
01. Cool 'N' Out 
02. Global-a-Go-Go 
03. Rudy Can't Fail 
04. Bhindi Bhagee 
05. Armagideon Time (Willi Williams) 
06. Shaktar Donetsk 
07. Mega Bottle Ride 
08. Tony Adams 
09. Police And Thieves (Junior Murvin/Lee Perry)
10. Mondo Bongo 
11. Johnny Appleseed 
12. Bummed Out City

CD2:
01. Police On My Back (Eddy Grant) 
02. The Harder They Come (Jimmy Cliff) 
03. Pressure Drop (Toots Hibberts) 
04. I Fought The Law (Sonny Curtis)
05. Bankrobber 
06. Yalla Yalla
07. A Message To You Rudy (Dandy Livingstone)
08. London's Burning 
09. Blitzkrieg Bop (Ramones) 
10. Radio Interview

                                  released by Hellcat Records/Epitaph on July 24, 2001


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

PiL - Commercial Zone Limited Edition
(PiL Records Inc. XYZ-007)


Vinyl, LP, Album, Unofficial Release, Limited Edition (Second pressing)
Released: USA 1984

A1 Mad Max (4:15)
A2 Love Song (4:29)
A3 Young Brits (3:43)
A4 Bad Night (3:24)

B1 The Slab (3:36)
B2 Lou Reed Part I (3:59)
B3 Lou Reed Part II (Where Are You?) (2:52)
B4 Blue Water (3:34)
B5 Miller High Life (2:44)

Recorded At - Park South Studios, Manhattan, NYC
Produced by Bob Miller & Keith Levene

Notes:
Second pressing in black sleeve, retitled "Commercial Zone - Limited Edition."
On this version of "Commercial Zone" the order of the tracks on side A was changed, the song "Solitaire" was been retitled "Young Brits," and the version of "Bad Night" is slightly shorter than on the first pressing of the album. Also, "Lou Reed Part II" has been subtitled "(Where Are You?)"

Lineage: Ripped from a vinyl album released on PiL Records Inc. (XYZ 007) in 1984.


In May 1981 PIL moved from London to New York City,  their American record contract with Warner Brothers expired in October 1981 and was not renewed. In January 1982 the British music press reported that PIL had tried to record a new album in New York with producers Adam Kidron and Ken Lockie, but split instead - this was promptly denied by the band in a press release the following week.

In May 1982 drummer Martin Atkins rejoined the band and PIL started recording their new studio album for Virgin Records at Park South Studios in Manhattan, with sound engineer Bob Miller co-producing. On 29 August 1982 new bassist Pete Jones joined the band in the studio, the new line-up played its debut concert four weeks later (28 September 1982 in New York City). During the summer and autumn of 1982 the band planned to form their own record label (Public Enterprise Productions) and license its releases to Stiff Records USA for the American market, but these plans never materialized.

In early November 1982 PIL announced the imminent release of a new single "Blue Water" and a six-track mini album You Are Now Entering A Commercial Zone on their new label. This did not happen, instead the band continued recording at Park South Studios for a full-length album.

By May 1983 a new track "This Is Not A Love Song" was earmarked as a new single for Virgin Records, but PIL broke up when first Pete Jones and then Keith Levene left the band.

Keith Levene, guitarist and song writer recalls of the time “By 1983 we’d had some success and it was time to position PiL in a more mainstream yet ambiguous arena. This was an area I referred to as the Commercial Zone.” “So I went into the studio on 57th Street in Manhattan  and began writing and composing the music for the album bearing that title,”

The efforts of Levene’s labour on the first Commercial Zone demonstrate his range as a composer. Take for instance the orchestral and serene “The Slab” or the contrast of the bluesy guitar-driven Lou Reed Part I and II. Unfortunately, however, before Commercial Zone was completed, creative differences over the project resulted in Levene’s declining to continue with PiL. "It was the last thing I wanted but I had no choice really. To have stayed would have meant compromising the integrity of the project which is something I could never do,” he explains.

The remaining members, John Lydon and drummer Martin Atkins hired session musicians to fulfill touring commitments and carried on under the PIL name. The single "This Is Not A Love Song" (with "Blue Water" as a 12" single b-side), both from the Park South sessions, was released by Virgin Records in September 1983 and went to no.5 in the UK single charts.

In summer 1983, in PIL's absence, Keith Levene took the unfinished album tapes and did his own mix. He then flew over to London and presented them to Richard Branson as the finished new PIL album for Virgin Records, but John Lydon decided to completely abandon the tapes and re-record the whole album from scratch with session musicians. This new version of Commercial Zone became This Is What You Want... This Is What You Get in 1984.

Levene decided to put the album out himself on the American market and founded the label PIL Records Inc. for this one-off release. The first limited pressing was released in November 1983 and was heavily imported to the UK and European market. A second pressing (with the track listing changed around and a shorter mix of "Bad Night") followed in August 1984 in an edition of 30,000 copies, to compete directly with the official re-recorded album This Is What You Want... This Is What You Get.  Virgin Records promptly took legal actions and stopped the distribution and any further re-pressings of Commercial Zone.

 
Viewed by many as the last true PIL album, Commercial Zone was reviewed by Melody Maker upon release:

"THIS is not a bootleg, this is the real alternative to that other record, a private view of the Public Image, a strictly import-only insight into the way they were. This record sets the record straight from the Keith Levene point of view, a collection of original PiL ephemera which puts the tin lid on Levene's involvement in the band up to the acrimonious parting of the ways last summer. Five of the eight tracks on This Is What You Want... appear here in embryonic form, accompanied by one or two Levene works and a couple of apparently unreleased Lydon/Atkins/Levene efforts.

Of the exclusives, Bad Night (no relation to Bad Life) is the most intriguing item, Levene owning up to his Velvet's influence and Lydon wailing in a particularly discordant, yet peculiarly appealing manner. And doubtless the faithful will make the sacred pilgrimage to the local disc relic of PiL history, featuring as it does an authentic sounding Public Image, the last of the real McCoy before the advent of the last cynical studio bound release.

The Slab is a moody instrumental worthy of Irmin Schmidt which surfaced on This Is What You Want as Order Of Death. Mad Max evolved into Bad Life, and Lou Reed Part 2 became Where Are You - all different enough in execution to warrant a listen if only out of curiosity. Commercial Zone is not such a bitter PiL to swallow - perhaps this is what you want? (Andy Hurt - Melody Maker, August 1984)


                          The official release appeared in July 1984 on Virgin records V 2309
So now you know the story behind the album and are wondering, what are the real differences between the two versions? Here's my opinion:

01. Bad Life (aka Mad Max)
Compared to 'Mad Max' this is evidently more finished but it reminds me of those needless remixed versions you would get on a 12-inch single. The more minimalist Levene version is best
02. This Is Not A Love Song (aka Love Song)
Add in horns and vocal overdubs, and it makes for a too busy mix. A great song with a superb bass line, the rhythm section at times is reminiscent of Frankie Goes To Hollywood! The remix is good but the horns really detract from the song.
03. Solitaire (aka Young Brits)
A more funky disco version, a reviewer wrote 'Death Disco' without the Death.
04. Tie Me To The Length Of That 
05. The Pardon
06. Where Are You? (aka Lou Reed Part II (Where Are You))

On Commercial Zone it's as close as PIL came in the 80's to the jagged dissonant sound they had in 1978-79. Here the guitar is vanquished and replaced by keyboards with additional vocals, the sharp edges and spooky feel of the original is lost, overdubbed into excessive 80's oblivion.
07. 1981
08. The Order Of Death (aka The Slab)

The original was a perfect example of less is more. This remake has additional repetitive vocals and keyboards with the drums more upfront. Still a decent tune but Levene's version is superior.


Thursday, 15 December 2016

BEST BOOTLEGS 2016


From numerous bootlegs downloaded and listened to throughout 2016, a quarter were discarded. The remainder were considered worth keeping, either on disc or the best on hard drives for safe keeping and possible future uploads.

The titles covered in this PDF booklet are in my opinion:

The 50 best bootlegs available for download from the web in 2016.
 (of those not already in my collection)


 

Emailed direct to all members, non-members can request details via the email address on the top right-hand side column.

The PDF document comprises:

    38 pages A4
    Word count 19,960
    50 bootleg images


Full details have been included for each bootleg such as:
  •     Venue
  •     Date of performance
  •     Type of recording - soundboard, FM, from the audience, etc.
  •     Taper’s name if available
  •     Lineage
  •     Running time
  •     Website address
These details should enable you to quickly locate any particular title of interest. I have not provided a sound quality rating as all are of sufficient high quality to rate around 5 out of 5, some are worthy of 5+ like the best official releases. Further details include:
  •     Complete track listing
  •     Track timings
  •     Informative comment on each bootleg.
  •     Index
  •     Brief details of the best of the rest including a further 10 bootlegs
Included are bootlegs by:
  • TELEVISION
  • DAVID BOWIE
  • REM
  • TOM VERLAINE
  • MISTY IN ROOTS
  • CRANBERRIES
  • SPARKLEHORSE
  • IGGY POP
  • LED ZEPPELIN
  • CREAM
  • RORY GALLAGHER
  • BECK
  • DAVID SYLVIAN
  • JAPAN
  • NEIL YOUNG & THE PROMISE OF THE REAL
  • CRAMPS
  • RADIOHEAD
  • DAVID GILMOUR
  • SUICIDE
  • PJ HARVEY
  • GEORGE THOROGOOD & THE DESTROYERS
  • FLEETWOOD MAC
  • BLONDIE
  • PATTI SMITH
  • SMASHING PUMPKINS
  • BIG AUDIO DYNAMITE
  • NEW ORDER
  • BEATLES
  • NIRVANA
  • POGUES
  • PINK FLOYD
  • THE WHO
  • SIMPLE MINDS
  • GANG OF FOUR
  • SPECIALS
  • TRIFFIDS

Wednesday, 2 November 2016

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


BOB DYLAN
Carnegie Hall, New York City, NY
October 26, 1963
(LB-6180)


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"

  

CD1
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


CD2
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



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