Genesis “Live at the Hammersmith Odeon” in London, England on June 10th, 1976 ‘A Trick of the Tail’ Tour 1976. Taken from the Pre-FM broadcast audio soundboard recording that is great quality, and one soundboard audio source that is slightly lower quality. This live recording by Genesis was a landmark King Biscuit Flower Hour appearance because it marked the first time the band had been heard on a national broadcast with its new line-up, after the departure of lead singer Peter Gabriel.
The band had toured for over a year between 1974 and 1975, performing 103 shows on the “Lamb LiesDown On Broadway” tour knowing the whole time that Gabriel would be departing to focus on his new family and to launch a solo career. The band had pleaded with Gabriel not to go public with his decision to leave, because the members feared they could not move forward without their charismatic lead vocalist.
This album showcases Genesis’ stellar concert at the Hammersmith Odeon, on 10th June 1976, during the “A Trick of the Tail” Tour.
Broadcast on the King Biscuit Flower Hour, this performance features unmissable renditions of Genesis classics such as ‘Firth of Firth’, ‘The Lamb Lies Down On Broadway’, ‘The Carpet Crawlers’, ‘I Know What (I Like In Your Wardrobe)’ and more.
Setlist:0:00:00 – Dance on a Volcano 0:07:12 – The Lamb Lies Down on Broadway 0:14:33 – The Carpet Crawlers 0:21:19 – The Cinema Show 0:33:59 – Robbery, Assault, and Battery 0:40:29 – White Mountain 0:48:06 – Firth of Fifth 0:57:44 – Entangled 1:04:28 – Squonk 1:11:20 – Supper’s Ready 1:37:24 – I Know What I Like (In Your Wardrobe) 1:44:28 – Los Endos ENCORE 1:52:27 – It / Watcher of the Skies | Band Members: Phil Collins – Lead Vocals, Drums, Percussion Tony Banks – Keyboards, Synthesizers Steve Hackett – Guitar Mike Rutherford – Bass, Guitar, Backing Vocals Bill Bruford – Drums
The Dogs D’Amour are an English bluesey hard rock band formed in London in 1983. Over the years the band has had various line-ups, the only constant being vocalist Tyla. Their music has been described as a mixture of the Rolling Stones, the Faces and glam punk. Coming in JulyDogs D’Amour – The Dynamite China Years – Complete Recordings 1988-1993. An 8CD boxset featuring the albums In The Dynamite Jet Saloon, Errol Flynn (King Of The Thieves), A Graveyard Of Empty Bottles Vol. 1, …Straight??!! and…More Unchartered Heights Of Disgrace, plus two discs of singles, B-sides and rarities.
Propelled by the albums’ three singles ‘The Kid from Kensington’, ‘I Don’t Want You to Go’ and ‘How Come It Never Rains’ edging their way up the charts, when The Dogs D’Amour’s genre-defining 1988 “debut” ‘In The Dynamite Jet Saloon’ (CD2) was released in 1988, it must have looked like the band was an overnight sensation. But this couldn’t have been further from the truth.
The Dogs D’Amour originally formed in 1983, and had already recorded two previous “debut” albums. First was 1984’s now highly collectable ‘The State We’re In’, for Finnish label Kumibeat. Further recordings were made in 1985 and 1986 for Watanabe Records in Japan, and it’s the latter where this collection kicks off. ‘The (Un)Authorised Bootleg Album’ (CD1) was the record originally intended for Japan a mostly acoustic grab-bag of the previous years’ sporadic sessions — became the band’s second album.
The second set in this collection is the aforementioned the critically acclaimed “In The Dynamite Jet Saloon’ (CD2), bursting with classics. A highly prolific band in their earliest days, ‘Errol Flynn’ (re-titled ‘King Of The Thieves’ in the States) (CD3) was released in 1989 as was the extended mini-album, The all-acoustic ‘A Graveyard Of Empty Bottles Vol. 1’ (CD4), a collection of acoustic songs that reached the UK Top 20.
Now officially England’s most notorious and decadent glam rock band, the Dogs d’Amour reeled off another solid, and adequately sleazy follow-up in 1990s ironically titled saw the release of ‘…Straight??!!’ (CD5) featuring the singles ‘Victims of Success’, ‘Empty World’ and ‘Back On The Juice’. Unfortunately, and in true rock ‘n’ roll tradition, the band split up on stage in Los Angeles in 1991.
Steve James started a new project called the Last Bandits, and Bam temporarily joined the Wildhearts. Thankfully the band regrouped for the self-explanatory ‘…More Unchartered Heights Of Disgrace’ (CD6) in 1993. This eight CD collection is completed with no less than two discs of rarities, live tracks and B-sides with ’Singles, B-Sides & Rarities’ (CD7) and ‘Even More Singles, B-Sides & Rarities’ (CD8), making this the most complete and comprehensive collection of the band’s recordings for China Records.
Tyla embarking on a solo career with an album fittingly titled “The Life & Times of a Ballad Monger”.
The Dogs’ sound was firmly rooted in American blues music, and Jo Almeida’s unique and distinctive slide guitar was reminiscent of blues masters like Lightnin’ Hopkins and Charlie Patton.
An 8CD complete collection of recordings released by China Records. • Featuring what most consider to be the classic line-up of The Dogs D’Amour; Jo ‘Dog’ Almeida on guitar, Steve James on bass, the onomatopoeic Bam on drums, and of course fronted by songwriter and singer, the inimitable Tyla.
Albums
The State We’re In (Kumibeat – 1984)
In The Dynamite Jet Saloon (China – 1988)
Errol Flynn (China – 1989)
Straight??!!’ (China – 1990)
…More Unchartered Heights of Disgrace (China – 1993)
Happy Ever After (Artful – 2000)
Seconds (Basementboy – 2000)
When Bastards Go To Hell (Rock Treasures – 2004)
Let Sleeping Dogs… (King Outlaw – 2005)
In the Dynamite Jet Saloon MMX ( King Outlaw 2011)
Graveyard of Empty Bottles MMXII (King Outlaw 2011)
Tyla and The Dogs D’Amour will be on the road in 2024 and 2025 to support this release,
Duel Ferns is a Brooklyn-based band that released their debut single “Softer Silence” last month via Postseason Franchise Records.
Duel Ferns unleash their debut single upon the world with the release of “Softer Silence.” Crafted amidst Brooklyn’s vibrant underground music scene, this song captures the raw essence of their electrifying sound, forged through the intensity of their live shows last summer.
Driven by Charity’s evocative lyrics, “Softer Silence” emanates a haunting allure, enveloping listeners in a landscape where drums, guitar, bass, and violin intertwine with multiple pedal boards to create a mesmerizing tapestry of sound. Drawing inspiration from the atmospheric depths of The Velvet Underground, the fearless experimentation of Kim Gordon, and the gritty textures of My Bloody Valentine, Duel Ferns is both timeless and innovative.
Immerse yourself in the convergence of lo-fi, grunge, post-punk-psychedelia in the heart of Brooklyn’s vibrant music scene. The track is described as “Sonic Youth meets My Bloody Valentine meets The Velvet Underground”, with a raw intensity that delivers a primal and natural blow that hits with a gritty punk spirit that feels like you’re live in a room with beer-soaked floors watching them bring it to life.
The Telescopes “Radio Sessions” collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of Radio Session” releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond – enjoy the sonics and stay tuned. There are some amazing versions of “We See Magic” in existence, this has to be one of my favourites. Astonishing sonic bliss exploration of sound.
The Reds, Pinks & Purples debut tour of the UK is now over. Thanks to all that came out. For those that couldn’t make it for whatever reason, we’re now making remaining copies of the tour only LP, “Still Clouds At Noon”, available to purchase via Bandcamp.
Recorded as part of the same daydreaming puzzle as “Unwishing Well”, “Still Clouds at Noon” brings out the slowcore/sadcore elements that drift through The Reds, Pinks & Purples’ melancholy catalogue. Donaldson names ’90s hometown San Francisco acts such as American Music Club and the more obscure Timco as pivotal to his guitar playing and development as a songwriter, both of which shine bright here. The slower tempo ballads on “Still Clouds…” often culminate in heavy fuzz drenched codas and showcase the more abstract poetic side of Donaldson’s lyricism.
There’s an inherent pop-sensibility always at work though, with ear-worm melodies appearing over intoxicating circular riffs. Formerly a Bandcamp only digital release, this black vinyl version is remastered and adds two unreleased tracks, one featuring Mark Monnone from Australian pop-legends TheLucksmiths on bass. Edition of only 500.
In the Summer of 2022, a 10-year journey came to an end in Amsterdam. Its final score, as the curtain closed and the lights came up, was comprised of the orchestrations that preceded and followed the final act: the buzz of a barber’s razor, the droning resonance of a tattoo machine, and the brush of electric sound from the surprise gift of a friend.
For a decade, a leading figure and frontwoman of post-punk staple band Against Me!, Laura Jane Grace,
A musical force since Against Me!’s debut in the late 90’s, Laura Jane Grace has never shied away from themes of political commentary, environmentalism, social critique, and candid self-exploration. Following the 2012 public announcement of her gender transition in the pages of Rolling Stone, Laura Jane Grace racked up several accolades. Against Me! released its most acclaimed record to date, “Transgender Dysphoria Blues” in 2014, which was followed by an Emmy-nominated 10-episode companion documentary, . Hole In My Head is Grace’s twelfth album and an exciting hallmark in her colourful and extensive career.
Recorded at Native Sound in St. Louis, Missouri the album is a sonic curio cabinet containing multitudes. “Hole In My Head” features warm 50s-rock-influenced guitar riffs, saved-for-later lyrics, love letters to St. Louis, dysphoria apparel, and thoughtful reflections on a punk life lived.
The record’s title track “Hole In My Head” takes off with a driving guitar-heavy approach that will be welcome to long-time fans of Against Me! Electric machinations drive the song for about 10 seconds before launching into the first verse and punctuated by two lines that serve as the chorus as the song progresses, “I won’t learn to feel less/ I need a hole in my head”.
The lyrics are captured visually in the album’s cover art done by the talented Australian artist and designer Annie Walters. Walters contrasts a black and white photograph of the crumpled, short-haired figure of Laura Jane Grace against a barrage of bright colour and illustrative imagery that bursts upward from Grace’s splitting head.
Baby what’s the scene? I’ve got places to be Something left unsaid will explode if not released
I need a hole in my head I won’t learn to feel less
Keeping up the pace, “Hole In My Head” is followed by “I’m Not a Cop” and “Dysphoria Hoodie” in that order. “I’m Not a Cop” continues in the themes of self-examination and is backed by a 50/60’s rock style melody a la Jonathan Richman and Eddie Cochran. Richman’s influences make several appearances throughout the record. Grace replicates Richman’s distinctive musical styling in the form of jangly guitar rhythms and staccato response harmonies. As the melody is juxtaposed against present-tense ruminative lyrics, the song creates a melodic microcosm of sorts. A space in which the listener cannot stop themselves from examining the progression of rock music as a constant form of counter-culture form of expression.
The first single from the record is one which audiences who have seen Laura Jane Grace play in the last couple of years may be familiar with. “Dysphoria Hoodie” (released on October 4th), has been a staple in Grace’s setlist, and one which is as personal as it is pertinent in today’s climate.
Falling away from the comforts of “Dysphoria Hoodie” and following “Birds Talk Too”, the album pivots back to the influences of Jonathan Richman in the following song “Punk Rock in Basements”.
As the album’s sound begins to settle, Laura Jane Grace’s writing shifts to reflect her surroundings. For the last couple of years, Grace has split her time between Chicago and St. Louis, Missouri. And despite her 2018 song “I Hate Chicago”, Grace wants it known she, in fact, does not hate the Windy City. As a parent, home is wherever Grace’s daughter is.
But after spending the pandemic cooped up in an apartment where she was unable to make music the way she wanted, she needed to get out. Shortly after, Laura JaneGrace landed in St. Louis and (quite serendipitously) posted up in a studio that formerly belonged to Jay Farrar, frontman of Son Volt and founding member of Uncle Tupelo.
The first couple of songs on “Hole In My Head” are straightforward, stripped-back punk-rock-‘n’-roll affairs, but the majority of the album is more bare-bones even than that. Most of the tracks feature an acoustic guitar, accompanied often—though not always—by drums played by Grace herself, as well as a bass guitar courtesy of Matt Patton of Drive-By Truckers. The effect of this rudimentary instrumental arrangement is that many of the songs sound almost cutesy—certainly that’s the case with “Tacos AndToast,” whose subtle yet triumphant refrain, “I ain’t got nowhere I gotta be today”makes it a perfect ode to gentle self-indulgence.
Grace’s greatest achievement on “Hole In My Head”is to impart the notion that her ability to write with such unerring, toe-curling honesty is dependent upon her willingness to understand the inner machinations of her mind down to every last synaptic firing. There is a potent power in knowing yourself this well; it rises above the anxiety and uncertainty that it illuminates and flows out of the record beautifully, in a way no one song can aptly summarize.
Life can be complicated and often painful, Grace seems to say on “Hole In My Head”, but if strength and optimism are to be found anywhere, it’s in seizing your identity—warts and all—and refusing to shy away from it.
It was in St. Louis that Grace celebrated her 42nd birthday, a day commemorated in “Hole In My Head’s” seventh track “Tacos and Toast”. This track in addition to its predecessor “Cuffing Season” slows down the tempo of the record moving forward as its lyrics delve into Grace’s renewed ability to make music in a new place. Grace follows up this love for St. Louis in the album’s ninth track, “Keep Your Wheels Straight” as well. Immortalizing a night of CBGB’s and nonalcoholic beers, a city plagued by urban decay is brought back to life.
“St. Louis really opened its arms to me and I just have such a great time when I’m there… it’s a really special city … It’s like, to me it feels like the way every city in America felt when I first started touring in the late 90’s. And this crazy mix of like, fun and adventure, but danger and possibility”
Backed by her own drumming, Grace’s forward vocals complement her skills as a guitarist on “Hole In MyHead“, while the added contributions of Drive-By Truckers bassist, Matt Patton, bolsters a full-band sound throughout the album. Patton, who was recruited through a brief conversation with Grace over Twitter, brought a smooth and collaborative experience to the project, despite the genre differences between the two. When asked, Matt said:
“I would say that our working relationship was immediately comfortable just in the way that she was able to articulate you know, what it was that she wanted me to do.
And you know, she had the musical cue and vocabulary to get her points across to where we can work efficiently without any confusion or disagreements. It was a, you know, it was a different level for me.”
Patton’s playing is all over the record, but really took his moment to shine when given a blank slate with the song “Mercenary”. According to Laura Jane, “Mercenary” is the oldest song on the record and had been workshopped on and off over the years. Patton had wrapped up his time in the studio with Grace and was headed home when Grace sent him the track and told him to do whatever he wanted with it. “Mercenary” has a more roots-based sound with a metronomic sliding bass sound which allows it to stand out on the album. Grace’s ever clear vocals keep it consistent with the rest of the songs though. There is a sharp edge in her voice, almost as if she’s breathing out a challenge as she sings:
If there’s money on the table you can take it and leave If there’s a seat in the car no one rides for free I’ve got gold, solid gold Come on and shine with me Go on and take all you want There’s nothing here that I need
Writing from life is easy to do but it’s difficult to master. Life is strange, it’s messy, and for all the talk of it being short, living is the longest thing we can do. How do we get to the point of it all? Writing about it is just one way to make sense of it all. In taking these strange moments, it’s tempting to crowd the story with metaphor or description in an effort to entertain others as we invite them to these parts of our lives. Laura Jane Grace has honed her craft as a songwriter, and takes on the difficult task of telling her stories without losing the details.
In the final two tracks of the album “Hard Feelings” and “Give Up the Ghost”, there is almost a stream of consciousness where Grace flows between apologies and regrets to seemingly embellished experiences. Except when she sings “I’m standing at the center of the universe/ screaming at god, I’m not done” in the final track “Give Up the Ghost”, she’s being serious.
The Center of the Universe, an auditory phenomena on a footbridge in downtown Tulsa, Oklahoma. A place where tourists can stand at its center and yell yet not be heard by those standing outside of them. It is an isolating experience for some, where in one space you can say everything or nothing and maybe only god will hear you. Or not. “Give Up the Ghost” is relatively sparse compared to the rest of the record. As it was in the American Hotel in Amsterdam and the bedroom of her childhood, it is just Laura Jane Grace and a guitar, setting her time and memory to melody the hard-edged yet honest way she’s mastered.
“Hole In My Head” is a record which captures the nuances of humanity and experience in a strangely optimistic manner. The lightness of its influence and the journalistic recollection of experience set against a battered and warm folk-punk delivery from beginning to end makes “Hole In My Head” a fun comfort. It is a welcome embrace of life and just the start of a new chapter in Laura Jane Grace’s raucous journey.
releases February 16th, 2024
All songs written & performed by Laura Jane Grace,
On June 25th, 1999, R.E.M. took the stage at Glastonbury for the very first time. A historic performance from the group from Athens, Georgia, who remain one of the most influential and successful bands in rock music.
R.E.M. took to the iconic Pyramid Stage at the end of long sunny day at Glastonbury 1999 and dazzled the crowd with a powerful and rousing set, encompassing some of their biggest songs including “Daysleeper”, “The One I Love”, “Losing My Religion”, “Everybody Hurts” and “Man On The Moon”. They played after bands like Blondie, Bush and Hole.
“Hole did such a great set, I was like — I’ve got to ramp this up, I’ve got to be great. I think it was maybe a moment for R.E.M. and the U.K. where we had kind of been forgotten or pushed aside by younger bands, and that was a particular moment at Glastonbury where I think we pulled ourselves back to the front of the line and actually proved, this is what we’re capable of.” – Michael Stipe
Filmed at the Pyramid Stage Glastonbury Festival, 25th June, 1999. Listen to the full show as part of ‘R.E.M. at the BBC’,
Setlist:1:45 Daysleeper 5:16 The Wake-Up Bomb 10:34 The One I Love 14:05 Sweetness Follows 19:44 At My Most Beautiful 23:45 Losing My Religion 28:53 Everybody Hurts 35:45 Walk Unafraid 40:26 Star 69 43:36 Finest Worksong 47:53 Man On The Moon 56:05 Why Not Smile 58:13 Crush With Eyeliner 1:03:04 Tongue 1:08:24 Cuyahoga
A copy of the vinyl bootleg “Tales From The Who” recorded live fromThe Spectrum, Philadelphia, possibily from the Soundboard or an excellent audience recording. A sell-out crowd of 19,500 packed the Spectrum for a gross of $135,000. The show was recorded for broadcast on the King Biscuit Flower Hour, as was the following night in Largo, Maryland.
One of the most famous bootlegs in rock history, “Tales from the Who” came from the King Biscuit Flower Hour broadcast of a Long Beach concert taped following the release of “Quadrophenia”. The Who, as usual, rely on taped backup for all keyboards and any other instruments except guitar, bass, and drums. Roger Daltrey is in great voice as the band revisits “Can’t Explain,” “Summertime Blues,” “Won’t Get Fooled Again,” “Pinball Wizard,” “See Me, Feel Me,” and “My Generation.”
After a lengthy version of ‘My Wife’ followed by a superbly fast and hard performance of ‘My Generation’, which maintained its energy through seven minutes and some brilliant guitar soloing from Townshend, the “Quadrophenia” section of the show was less impressive. Pete said “The better part of an album what we wrote about ourselves being Mods, when we were little. The story about the Mod kid and we call it “Quadrophenia”... Being Mod meant a lot more in England I think than it ever did in America. I think you think of it being a Carnaby street thing… And it’s not just a looking back, it’s a kind of bringing up to date.
“Quadrophenia’s” about where we all are today, maybe you too. The story is set on a rock in the middle of a stormy sea. In Quadrophonic, as well!” Pete started playing a bit a little too soon before the tape of ‘I Am The Sea’ had finished. Explaining ‘I’m One’, Pete said: “The next song is called ‘I’m One’, what I sing and it’s about the way I felt, ’cause I wrote it. When I was a nipper I always used to feel that the guitar was all I had… I wasn’t tough enough to be in a gang, I wasn’t good looking enough to be with the birds, not clever enough to make it at school, not good enough on my feet to be a good football player, I was a fucking loser. I think everyone feels that way at some point. And somehow being a Mod – even though I was too old to be a Mod really – I wrote this song with that in mind. Jimmy, the hero of the story, is kinda thinking he hasn’t got much going for himself but at least he’s one.” ‘Sea And Sand’ slowed down into a single guitar riff and built up again as Daltrey sang ‘I’m The Face’, and ‘Drowned’ featured some fine ensemble playing. ‘Bell Boy’ sounded rather clumsy but Keith Moon enlivened the song with his funny amendment of the lyric to “remember the place in Canada that we smashed.”
Pete Townsend, John Entwistle, and Keith Moon are in good form and please the crowd with their performances. Over half of this two-record set is devoted to selections from the then-newly released “Quadrophenia”, and there’s an amusing story about this recording. Normally when the KingBiscuit producers put out live concerts for commercial broadcasts, they carefully bleeped out any obscenities, but in this case they overlooked some.
The New Orleans radio station that aired this program was unaware, like the show’s producers, that “Dr. Jimmy” contained a four-letter word, and it was duly broadcast. However, whichever station provided the broadcast that served as the source material for this bootleg had a station manager or program director familiar with the song, so they duly dubbed the KBFH disc to reel-to-reel tape and spliced out the offending word prior to airing the program (producing the bizarre line “Her fella’s gonna kill me/Aww, f-ill he”), but even they missed another one slipped into “My Generation.”
The bootleg label’s claim that this is a quadraphonic release was a bit laughable, because it couldn’t been taped off the radio in quadraphonic, and trying to convert it after the fact would have had all the success of the pseudo-stereo records of the 1960s. According to William Stout, who designed the colourful cover that was a knockoff of classic horror comic book covers, only 120 copies of this two-record set were released, as the operators of TMOQ knew that the FBI was on their trail and, in a fit of panic, they destroyed all other copies of the release (as quoted in Bootleg: The Secret History of the Other Recording Industry by Clinton Heylin). Like most King Biscuit broadcasts, the sound isn’t quite as good as typical commercial live rock records, but this collectable is far better-sounding than any other bootlegs featuring the Who, and its extreme rarity makes it a very valuable recording to own, superseded only by the original King Biscuit Flower Hour LPs distributed to the network radio stations for the broadcast.
The average quality of the “Quadrophenia” performances was more than compensated for by ‘Won’t Get Fooled Again’, a fine ‘See Me, Feel Me’ and ‘Pinball Wizard’. Townshend introduced the latter as ‘Pineball Blizzard’.
The radio broadcast omitted ‘My Wife’, ‘Punk And The Godfather’, ‘5:15’, and ‘Love Reign O’er Me’. The remaining show had the four letter words in the announcements edited out, as well as from ‘Dr. Jimmy’, although Daltrey had slipped a “fucking” into the last verse of ‘My Generation’ which seemingly was broadcast unnoticed! The 16-track master tapes of the show (and Largo, MD, the two night later) have been carefully preserved by King Biscuit Flower Hour for future use, but The Who have always considered them unsuitable for release. Pete’s Guitar got destroyed, A Gibson Les Paul Deluxe – Cherry Sunburst.
This is from the Philadelphia Spectrum, December 4th, 1973, which was broadcast as part of the King Biscuit Flower Hour radio show. Although this material was also captured on vinyl on Decidedly Belated Response, “Tales From The Who“, and the CD’s “Taking The Capitol” and “Pinball Wizard” are from the same show(s) with the former containing several tracks on neither of the afore-mentioned CD’s.
However, several sources familiar with the circumstances of recording of this show (and disc) have in- dicated that this is indeed from the Philadelphia show with perhaps the last 2 songs from the Captiol Centre, Largo, MD. An alleged FM broadcast offers excellent sound of this set appear to be Tales From The Who (CD) (Super Sonic SS 200021).
Setlist:
1. I Can’t Explain 2. Summertime Blues 3. My Generation 4. I Am The Sea 5. The Real Me 6. I’m One 7. Sea And Sand 8. Drowned 9. Bell Boy 10. Dr. Jimmy 11. Won’t Get Fooled Again 12. Pinball Wizard 13. See Me, Feel Me
The Inflated Edition of “Bursting Out”, who caught the show back in 1978. Sandwiched between shows at The Madison Square Garden and the first Satellite broadcast. The first show at MSG on the 8th was marred by bolts and firecrackers being thrown towards the stage. It almost caused the following show not to happen.
This was Jethro Tull’s first live album, 1978’s “Bursting Out”, has now been reissued in an expanded 3-CD/3-DVD format, remixed by Steven Wilson. The new “Inflated Edition,” “bursting” with an array of extras, arrived June 21st, 2024, via RhinoRecords.
The album was recorded at various locations during the European “Heavy Horses” tour in May and June 1978 and released as a live double album several months later on September 22nd. It contained material from ’78’s “Heavy Horses” as well as live versions of songs from “Aqualung”, “Thick As a Brick”, “Songs from the Wood”, “War Child”, and other albums from the Tull catalogue. In the expanded edition’s April announcement, Jethro Tull’s Ian Anderson notes:
“A live extravaganza from the 70s Jethro Tull, this was recorded over several nights in different venues on a portable 8-track tape recorder and transferred to 2” multitrack when I got home after the tours. I had to listen all through to many shows and pick the best live versions. But much of it was, at least, from the concert in Bern, Switzerland, where dear Claude Nobs came to introduce the band in his inimitable style. Also featuring on this box set collection is the live concert from Madison Square Gardens recorded a few months later and shown live on BBC TV in the UK. A scary experience for the band as it was, we were told, the first time a live rock concert had been the subject of a live satellite broadcast.
“The band line up at this time was a fine-tuned machine and, although missing the unwell John Glascock for the MSG show, it serves as a fine testimony for the many wonderful shows we did in the 70s before general touring fatigue and burn-out began a year or so later.
On the original, IanAnderson (vocals, flute, acoustic guitar), was joined by Martin Barre (electric guitar, mandolin, marimba), John Glascock (bass guitar, additional electric guitar), John Evan (piano, organ, synthesizers, accordion), Dee Palmer (portative organ, synthesizers) and Barriemore Barlow (drums, percussion, glockenspiel).
When it was first reissued on CD in 1990, “Bursting Out” was available as a double-disc CD in the United Kingdom and the rest of Europe, but as a single CD release in the United States, with three tracks (“Quatrain,” “Sweet Dream” and “Conundrum”) omitted to fit the 80 minutes CD length, while the double-disc 1990 CD version in the United Kingdom (and Europe) incorporated the first track for both discs (the Introductions) in the song that follows. In 2004, the complete album was released worldwide as a two-disc set with the Introductions as separate tracks.
CD 1: Jethro Tull live: Bursting Out (Part 1) – A Steven Wilson stereo remix Soundcheck recordings – A Steven Wilson stereo remix. Tracks 7, 10, 11 (full version) & 12-16 previously unreleased
CD 2: Jethro Tull live: Bursting Out (Part 2) – A Steven Wilson stereo remix Soundcheck recordings – A Steven Wilson stereo remix. Tracks 11-13 previously unreleased
CD 3: Contains an edited version of the 1978 Madison Square Garden Show which was issued in 2009 but now mixed by Steven Wilson.
DVDs 1 & 2 have the remixed tracks in 96/24 stereo and 5.1 surround plus the flat transfers of the original album at 96/24 stereo.
DVD 3 has the full 93-minute MSG show, including 50+ minutes of video which was part of a transatlantic broadcast with the BBC and Radio 1. The audio is 48/24 stereo and 5.1 surround.
