Posts Tagged ‘Bootleg’

The Thompsons were without a record contract in 1980, when Gerry Rafferty offered to finance an album for them with his “Baker Street” producer Hugh Murphy. The sessions yielded 10 tracks – and Richard later rejected them all. Eighteen months later, though, he and Linda re-recorded six of the 10 songs with producer Joe Boyd as “Shoot Out The Lights”. Rafferty’s Folly, then, offers an alternative version of what became the couple’s final album.

It’s more polished, with more instrumentation – keyboards, Moogs, accordion, simulated strings – compared to the stark Shoot Out The Lights. Other surprises include “Wall Of Death” and “Don’t Renege On Our Love” with Linda on vocals, as well as a beautiful version of Sandy Denny’s “I’m A Dreamer” (later included on Linda’s 1986 comp, Dreams Fly Away).

Both Thompsons have since relaxed their attitude to the Rafferty sessions – Linda has admitted she prefers some of her vocals here. But it wasn’t bundled in with last year’s deluxe edition of Shoot Out…, and for now, it exists only in boot form, including this and Before Joe Could Pull The Trigger, which throws in demos from ’80-’82.

Tracklist:

Don’t Renege On Our Love, Back Street Slide , Walking On A Wire , The Wrong Heartbeat , Shoot Out The Lights , For Shame Of Doing Wrong, I’m A Dreamer Written By – Sandy Denny , Modern Woman , Just The Motion , Wall Of Death , Lucky In Life , How Many Times Do You Have To Fall? , Pour Will & The Jolly Hangman , Wall Of Death , Sword Dance / Young Black Cow , I Want To See The Bright Lights Tonight .

  • Bass – Dave Pegg
  • Drums – Dave Mattacks
  • Fiddle – Dave Swarbrick 
  • Guitar – Simon Nicol 
  • Guitar, Vocals – Richard Thompson
  • Producer – Gerry Rafferty 
  • Vocals – Linda Thompson

Sound quality: Excellent
See also: One Brave Henry, live folk club gigs from 1973

Recorded September/October 1980, Chipping Norton Studios

Led Zep The Destroyer 4LP yel

Audience recording from the Richfield Coliseum in Cleveland Ohio, on April 28th 1977. limited edition of a tape close to being excellent, virtually free of hiss, trebly and overloaded at times. The tape shows wear occasionally and presents cuts and edits almost in its entirety. The band is upfront and the clarity of the instruments is very detailed, the bass is a little indistinct at the end. The cuts and edits eliminate most of Plant’s comments, miss the first few seconds of many songs, cause tape disturbances when the recording resumes and interrupt two tracks in progress. Before Nobody’s Fault the taper curses as he informs he is having problems, a squeal precedes the first cut, when the recording resumes the first few guitar notes are missing.

4-28-77-tkt

In My Time is cut briefly in the final vocal a cappella and joined to the last phrase of You Shook Me. No Quaaludes, as introduced by Plant, is cut during the second vocal theme and joined to a couple of seconds of the wha-ed guitar episode, and finally cuts out. Audience noise is minimal, a wise guy is introducing the songs to his mate! s before Plant, an irreverent yell of “this sucks!” in Over the Top ,and the taper cursing again in Stairway; there’s some mumbling in the quiet moments, but nothing really annoying. This is a superb gig, the pacing and playing, together with the very enjoyable recording, make for a listening treat. Page is precise, concise and powerful; Jonesy is all over the place; Plant’s vocal gymnastics are strong from the beginning to the end and seems genuinely touched by the audience’s response; Bonzo is frightening, he seems to destroy the drum kit in every track, the recording captures particularly well his crushing presence. Collectively is the same story, the enthusiasm does not let up a minute, every piece receives special attention and there are no lazy moments. In My Time features great introductory licks to the guitar leads; No Quarter features amazing interplay and Jonesy’s most inspired piano playing. Ten Years is overloaded by the loud twelve-string and cymbals, Achilles by the drums, even distorting the tape, but both are very clear. Tape wear is evident in Over the Top, Kashmir and Stairway; there’s a little distortion in the encores: Rock and Roll, Trampled. Despite these deficiencies, the performance is not affected at all and allows its enjoyment. This show should restore the faith to detractors of this era. 

Led Zep The Destroyer spine

The tape for Zeppelin’s second night in Cleveland is one of the strangest.  The tapers were located a ways from the stage, they were experiencing problems with their equipment, and he and his friends were not shy about expressing their opinions throughout the entire show.  It is also obvious one of his friends attended the previous evening’s concert and liked to tell the others which song is coming next.  Despite these obstacles this is considered one of, if not the best, audience document outside of the tapes for Los Angeles.  Its reputation is due to it being very clear and powerful.  Zeppelin was the perfect band to use the Richfield Coliseum’s questionable acoustics to their advantage and the result sounds like battery artillery storming the beachhead to the delight of a packed house.

This tape has been known as The Destroyer since it was released shortly after the event [I believe it might have been as much as a year later or more].  It was first released as a vinyl box set on the Smilin’ Ears Records label complete with the famous painting of the warriors huddled on top of one another.” [collectorsmusicreviews.com]

Recorded 28th-Apr-77 Cleveland, The Second Night

Audience recording from the second night at Richfield Coliseum in Cleveland, OH – 28th April 1977 apparently one of the best performances on the whole tour. Released in 1978; originally sold for $22 via the Pied Piper bootleg catalog.

THE DESTROYER
SMILIN’ EARS 77-300
Side 1: The Song Remains The Same – Sick Again (14:11)/ Nobody’s Fault But Mine (5:36)
Side 2: Since I’ve Been Loving You (17:24)
Side 3: Guitar Solo medley incl. The Star Spangled Banner – Achilles Last Stand (18:21)
Side 4: White Summer medley incl. Black Mountain Side – Kashmir (15:31)
Side 5: Ten Years Gone (8:56)/The Battle Of Evermore (5:25)/ Going To California (4:19)
Side 6: Black Country Woman medley incl. Bron-Yr-Aur Stomp (7:00)/ Trampled Underfoot (6:19)/ Rock & Roll (3:54)
Side 7: Kashmir (17:13)
Side 8: Over The Top medley incl. Out On The Tiles/ Moby Dick (16:25)
Recording: Very good mono audience. Taped on platform usually used for television camera for sports broadcasts. “All the cuts exist for two reasons: the taper was trying to save tape, and the recording was done on 60 minute (30mins per side) cassettes. ”  Comments: Deluxe box set. Two different covers. Two audience sources exist for this date.

Master tape in detail:
01. The Song Remains The Same (beginning cut) 03:44
02. Sick Again 07:05
03. Nobody’s Fault But Mine 07:17
04. In My Time Of Dying 11:37
05. Since I’ve Been Loving You 09:43
06. No Quarter (cut at 05:07) 20:45
07. Ten Years Gone 10:05
08. The Battle Of Evermore 06:27
09. Going To California 05:14
10. Black Country Woman 01:42
11. Bron-Y-Aur Stomp 05:42
12. White Summer (cut at 00:29) 03:45
13. Black Mountain Side 01:34
14. Kashmir 09:34
15. Over The Top 17:26
16. Noise Solo (cut at 10:06) 10:10
17. Achilles Last Stand 10:28
18. Stairway To Heaven 11:44
19. Rock And Roll(beginning cut) 04:12
20. Trampled Underfoot 06:59

 

van morrison - Pagan Streams

From my perspective, there are better sound-quality boots out there (Live In Montreux, for example), but no Van boot I have — and I have more than a few ,so integrates solid sound with a stunning performance: Live In Montreux comes close, at 150+ minutes, But Pagan Streams is the complete winner. This boot is so good, so valued, that much like the ancestral heir loom one only wears on special occasions, I listen to “Pagan Streams” infrequently. If I listened to it too often, I would quit my job, leave my wife and dog, and sell my soul to attend every one of the Van the Man’s concerts. I know it took me a while to track this boot down, and all I can say is: if you can find it, buy it.
The sound quality of this double CD is a very good audience recording. In fact it sounds a lot like a soundboard recording. There is some distortion in a few tracks but it isn’t a huge problem and is very listenable. Van Morrison actually “booted” some tracks from this boot for his Gloria CD single.
-Russell Parkinson (oocities.org)

Utrecht, Holland – April 1st, 1991

Van Morrison – vocal
Hajih Ahkba – flugelhorn & trumpet
Dave Early – drums
Georgie Fame – keyboards
Howard Francis – keyboards
Steve Gregory – saxophone
Ronnie Johnson – guitar
Nicky Scott – base
Candy Dulfer – alto saxophone

Out of Sight (2:43)
The Girl Can’t Help It (l. Richard) (2:53)
Ain’t That Lovin’ You Baby (Otis/Hunter) (2:43)
Satisfied (2:32)
Who Do You Love (G. Fame) (5:14)
And The Healing Has Begun 8:46)
See Me Through (8:39)
Moondance (10:31)
Some Peace Of Mind (4:36)
It´s All In The Game / Make it Real One More Time (5:45)
Enlightenment (2:36)
Whenever God Shiones [sic] His Light On Me (4:32)
It Must Be You (3:19)
Help Me (6:20)
Northern Muse (Solid Ground) -> When Heart is Open (6:07)
It Fill You Up (4:37)
So Complicated (3:22)
The Fayre Of County Down (2:25)
Orangefield (3:05)
Summertime In England 18:28)
Have I Told You Lately That I Love You (3:29)
Caravan (9:07)
In The Garden (8:27)
Send In The Clowns (4:42)
Gloria/Shakin All Over (9:28)
I Can’t Stop Loving You (R. Charles) (3:51)
Baby Please Don’t Go (Williams) / Who Do You Love (F. McDanials) / What D’I Say (R. Charles) (7:38)