JOHNNY WINTER - 70th Birthday Celebration B.B. Kings Blues Club And Grill NYC , New York - February 23, 2014

Johnny Winter
70th Birthday Celebration
B.B. Kings Blues Club And Grill
NYC , New York
February 23, 2014




Recorded by bcironmaiden - Nice sounding recording , I love BB Kings sound system !!! Johnnys vocals are much better than usual , still a
bit low in the mix though
Recorded w/ SP-CMC-8 Sound Professionals Deluxe Audio Technica Cardioid Stereo Microphones >
SP-SPSB-1 Sound Professionals  Mini Battery Module > Olympus LS-10 Linear PCM Recorder HD > Sony Sound Forge 96khz/24bit > 44khz/16bit > CD Wave Editor Track Split >
TLH ( Flac 8 ) > You


Some stuff I found online about the show :

Johnny Winter celebrated his 70th birthday with a show at New York’s B.B. King’s. Throughout the show, Winter was joined by special guests
Poppa Chubby, Debbie Davies, Mike Zito, Joe Louis Walker, Jon Paris as well as Lance Lopez, who opened the show for Winter. Johnny was also
presented with a blues award and a birthday cake during the show.

In honor of the blues guitarist’s 70th birthday, Winter will release True to the Blues on February 25, a 4-CD career-spanning box set
featuring well known songs such as “Johnny B. Goode,” “Rock and Roll Hoochie Koo” and “Prodigal Son.” Pre-orders are still underway via Amazon.


There’s a video clip on Johnny Winter’s official site in which the blues great says, “Being worshipped is not fun. Being appreciated is fun.”
The low-key Winter must have enjoyed himself on Feb. 23. That night at New York’s B.B. King Blues Club & Grill, appreciation for Winter’s life
and career was everywhere, as his concert also served as a 70th-birthday celebration and a push for his new 4-CD retrospective, “True to the Blues:
The Johnny Winter Story.”Seated throughout his headlining set, Winter stormed through material that put him on the map, including his early 1970s
covers of Chuck Berry’s “Johnny B. Goode” and The Rolling Stones’ “Jumpin’ Jack Flash” (both included on “True to the Blues”), and what inspired
him to be a musician, such as the Muddy Waters-popularized “Got My Mojo Workin’ (which Winter recorded for his 2011 album, “Roots”).Johnny Winter
Paying tribute to him onstage were fellow blues artists Popa Chubby (who during his guest spot on “Got My Mojo Workin’”
elicited a big grin from the normally poker-faced Winter), Mike Zito (who jammed on “Jumpin’ Jack Flash” and later presented Winter with a guitar
as a gift) and Joe Louis Walker (who strapped on opener Lance Lopez’s guitar for “It’s All Over Now”).As the show was winding down, statements
from the likes of Derek Trucks, Carlos Santana and Pete Townshend about Winter’s impact as a blues guitarist appeared on the club’s inexplicably
blurry video screens. For a lifelong musician like Winter, appreciation from peers and disciples is the kind of fun that probably never gets old.
Winter’s next block of North American tour dates begins with a March 6 show in Leesburg, Va. The “True to the Blues” collection is due Feb. 25
via Columbia/Legacy.


I bought the box set at the show , good stuff !!!
Looking forward to the Johnny Winter documentary "Down & Dirty"
Also looking forward to seeing him again soon .... he still has chops !!  




Setlist : 97:34.379
01. Down And Dirty Preview
02. Intro/Jam
03. Johnny B Goode
04. Good Morning Little School Girl
05. Popa & Frank Intro
06. Got My Mojo Workin' ( With Popa Chubby - Guitar & Frank Latorre - Harp )
07. Debbie & James Intro
08. Black Jack  (  Debbie Davies - Guitar & James Montgomery - Harp )
09. Killing Floor
10. Lance Lopez Intro
11. Boney Maroni ( Lance Lopez Guitar )
12. Mike Intro
13. Jumpin Jack Flash ( Mike Zito - Guitar )
14. Don't Take Advantage Of Me
15. Joe Intro
16. It's All Over Now ( Joe Louis Walker - Guitar )
17. Awards/Happy Birthday/Jon Paris Intro
18. Dust My Broom ( Joe Louis Walker - Guitar & Jon Paris - Harp )
19. Encore
20. Highway 61 Revisited



Johhny Winter band :
Johnny Winter - Guitar/Vocals
Paul Nelson - Guitar
Scott Spray - Bass
Tommy Curiale - Drums


http://fp.io/4am3ccc4/

MUDDY WATERS, JOHNNY WINTER & JAMES COTTON – Breakin’ It Up, Breakin’ It Down (2007)

Muddy Waters, Johnny Winter & James Cotton – Breakin’ It Up, Breakin’ It Down (2007)



In March 1977, Muddy Waters, Johnny Winter, and James Cotton did a concert tour together in support of Waters’ then-recent Hard Again LP, on which Winter had played guitar (as well as produced) and Cotton had played harmonica. This CD, not released until about 30 years later, has an hour of music drawn from three different shows on the tour. It might have been spurred by a Muddy Waters album, but in fact Waters, Winter, and Cotton all took vocals — sometimes alone, and sometimes on the same song — on stage, and these 11 songs feature the vocals of each of the three in about equal measure. Often these kind of touring combinations are too many cooks in the kitchen, or, if not quite that, at least more fun to attend than to listen to on tape. The latter could be said of the material on this disc, which is really just okay, not great, and not even among the best recordings that have been issued of Waters in the mid-’70s. It’s still solid and decent, including some Waters classics (“Can’t Be Satisfied,” “Got My Mojo Workin’,” “Trouble No More”), Cotton originals, and covers of staples by Jackie Brenston (“Rocket 88?), John Lee Hooker (“I Done Got Over It”), J.B. Lenoir (“Mama Talk to Your Daughter”), Lowell Fulson (“Love Her with a Feeling”), and Elmore James (“Dust My Broom”), as well as the famed jump blues “Caledonia.” It’s undeniable, however, that Waters was, even at this relatively advanced age, by far the most commanding singer of the trio. The songs on which his vocals are prominent (especially “Can’t Be Satisfied” and “Trouble No More”) kind of dwarf the ones on which his singing is absent or secondary, making the cuts that emphasize Cotton and Winter seem rather workmanlike in comparison. Nevertheless, the sound is good, and the band filled out competently with sidemen (particularly Pinetop Perkins on piano), making this a satisfactory listen for serious blues collectors, though a little superfluous for most fans.

http://fp.io/fd5a59ba/

THE DOORS - Live At The Matrix 1967

The Doors – Live At The Matrix 1967 (2008)



When the Doors were playing at the Matrix club in San Francisco on March 7 and March 10 of 1967, unofficial tapes were made of their performances. Music from four sets (two each night) of these gigs has long been available on bootleg, and a couple tracks did show up on the Doors’ 1997 box set. This two-CD package, however, marks the first official release of material from these shows in bulk. They represent the earliest concert recordings of the band that have been made available, dating from just two months after the release of their debut album (and a few months before the “Light My Fire” single would catch on and make them superstars). While this by no means has the complete recordings from these two nights that have circulated on bootleg, it does contain one version of every single song captured on the tapes. The sound quality, too, is substantially improved from those bootlegs (though it’s not true, as the liner notes claim, that all of those bootlegs had “the worst quality imaginable”). If it’s not quite up to the level of the fidelity heard on most official live albums (or even some more adeptly recorded Doors live shows from later in their career that have seen official release), the instruments and vocals come through pretty well, and can easily be listened to for pleasure as well as historical archival value.

More important than the technical and discographical details, however, is the quality of the performances themselves. And while they’re occasionally a bit ragged, and certainly not as sleek and cleanly balanced as their studio recordings, you could make an argument for this as the finest Doors live release, from the musical if not the fidelity point of view. For these are the Doors, and Jim Morrison in particular, when they were still hungry and eager to make an impression, with little of the somewhat self-parodying theatricalism that Morrison would sometimes lapse into on-stage after reaching superstardom. There are lean, urgent versions of most of the songs from their classic debut album, as well as, more surprisingly, about half the numbers from the yet-to-be-released Strange Days. “Unhappy Girl,” “Moonlight Drive,” “My Eyes Have Seen You,” “People Are Strange,” and “I Can’t See Your Face in My Mind” especially have notably sparer arrangements, betraying the band’s roots as more of a straight-ahead rock outfit prior to these songs getting effectively psychedelicized studio treatments. There’s even a version of one tune, “Summer’s Almost Gone,” that they’d wait until their third album, Waiting for the Sun, to put on a studio LP.

Filling out the set are a good number of cover tunes that the Doors didn’t release in the ’60s, including several blues and R&B covers. While these have their interest for documenting aspects of their repertoire that aren’t fully evident from their studio albums, they also reveal the group to be much less interesting when playing such cover tunes — among them “Money,” John Lee Hooker’s “Crawling King Snake,” Lee Dorsey’s “Get out of My Life Woman,” and Them’s “Gloria” — than they were when doing their own material. Still, even these selections include some standouts, especially a burning version of “Who Do You Love” that outdoes the more laid-back one on Absolutely Live, and an instrumental version of “Summertime” that gives Ray Manzarek a chance to showcase his organ chops. It’s also odd to hear such a cool, almost non-reception from the sparse audience, giving the impression the Doors were playing to a near-empty club, though they seem to be putting as much or more heart into their performance as they would later do for most of their arena concerts. All told, it’s an excellent document of their early days that’s strongly recommended to Doors fans. It would have been even neater for hardcore fanatics had all four sets from the two nights been included, but admittedly the elimination of multiple versions and resequencing makes this a much more listenable product for the general audience.

CD1:

1. Break on through (to the other side)
2. Soul kitchen
3. Money
4. The crystal ship
5. Twentieth century fox
6. I’m a king bee
7. Alabama song (whisky bar)
8. Summer’s almost gone
9. Light my fire
10. Get out of My life, woman
11. Back door man
12. Who do you love
13. The end

CD2:

1. Unhappy girl
2. Moonlight drive
3. Woman is a devil / Rock me
4. People are strange
5. Close to you
6. My eyes have seen you
7. Crawling king snake
8. I can’t see your face in my mind
9. Summertime
10. When the music’s over
11. Gloria

http://fp.io/9m47e935/

CAMEL - The Town Hall Birmingham, UK - 03/10/2014

Camel
The Town Hall
Birmingham, UK
10th March 2014

Taper 1: Boombox
Location: Row C, seat 20 ~10' back midway between House Left Stack and Centre Stage
Lineage:  CA14 Cardioids > CA9200 > Edirol HR-09 (@24/96) >
               Cool Edit Pro 2 (edits, volume and downsample to 16/44) > CDWave > TLH > FLAC

Taper 2: Paul44
Location: 3rd row just right of centre
Lineage:  Internal Mics > Zoom H2 > WAV > FLAC

Taper 3 : Relayerx9
Location: Main balcony, Row A Seat 9, 20m back from the stage. Fairly centred, right in front of Andy
Lineage:  External Sony ECM-MS907 Mic (in 120deg) placed on balcony ledge > Sony Hi-MD MZ-RH10 (Hi-SP) >
              USB transfer to PC (WAV) > Soundforge 9.0 (remove clicks x3 and track split) -> FLAC

The Band:
Andy Latimer - Guitar, flute, keyboard, vocals
Colin Bass - Bass, acoustic guitar, vocals
Denis Clement - Drums, bass
Ton Scherpenzeel - Keyboards (replacing Guy Le Blanc)
Jason Hart - Additional keyboards, acoustic guitar, vocals


Set 1: The Snow Goose
1 01 Intro  0:52
1 02 The Great Marsh  2:06
1 03 Rhayader  3:16
1 04 Rhayader Goes To Town  5:20
1 05 Sanctuary  3:12
1 06 Fritha  1:35
1 07 The Snow Goose  3:08
1 08 Friendship  1:55
1 09 Migration  3:48
1 10 Rhayader Alone  3:48
1 11 Flight Of The Snow Goose  2:03
1 12 Preparation  3:01
1 13 Dunkirk  5:37
1 14 Epitaph  1:36
1 15 Fritha Alone  1:43
1 16 La Princesse Perdue  4:49
1 17 The Great Marsh  2:26
Total Set Time 50:15

Set 2
2 01 Intro 0:34
2 02 Never Let Go  7:21
2 03 Song Within A Song  7:53
2 04 Echoes  8:05
2 05 The Hour Candle  7:36
2 06 Drafted  4:49
2 07 Watching The Bobbins  7:35
2 08 Intro to Fox Hill  1:32
2 09 Fox Hill  9:32
2 10 For Today  10:58
2 11 Encore Break with Band Introductions  3:48
2 12 Lady Fantasy  14:30
2 13 Outro  1:17
Total Set Time: 85:30
Total Show Time: 135:45 (2:15:45)

Remaster
1. Adjust frequencies in each source/EQ
2. Equalize noise level for each
3. Sync sources
4. Patch missing sections so recordings are complete
5. Combine all three sources to generate stereo field
6. Correct phasing and center sound field
7. Repair clicks, coughs, loud claps and other audience noise during music
8. Adjust dynamics
9. Re-track

Notes
The song Drafted replaces Tell Me for this tour.
The song The Hour Candle is dedicated to Guy Le Blanc.
  Illness prevented him from playing during this tour...
  http://www.progrockmag.com/news/camel-forced-to-change-keyboard-player-for-tour/
Respectful, quiet audience allowed an excellent recording from all three tapers.
Coughers were present near both front tapers, reduced during remastering.
Soundboard engineer separates some cymbals between left and right stacks...
  This can be heard during the quiet section of Lady Fantasy.
  This can be appreciated easily during other sections listening with headphones.
All of the music from set 2 can fit on a single CD if set 2 tracks 1, 11 and 13 are omitted.
Photos included with this remaster were included with the original taper sources.
A video recording of Lady Fantasy, shot from the front of the balcony during this performance is available here:
  http://www.youtube.com/watch?v=HSFa0lbRJdM


Taper Boombox notes
My second Camel show in six months - could it get any better? Well, yes, I think it could! Another packed out venue full of generally respectful music fans come to see Andy Latimer & Co deliver a lesson in how to do a first class show and have a ball doing it. First up was the reboot of 'The Snow Goose', which many thought benefited from the slightly rockier, more classic prog keyboards of Ton Scherpenzeel, standing in for Guy Le Blanc, who is battling serious illness. Ton's keyboards added a different colour again in the second half of Camel favourites, which were slightly tweaked from the Autumn tour - out went Airborn, Tell Me, Mystic Queen, Wait and Never Let Go (For Pete), with only Drafted coming in. So a shorter set than the last tour, but no-one felt short-changed. Andy's playing, as usual, was as wonderful and expressive as his facial gurnings, as ever more than ably supported by Colin, Denis and Jason  - and the version of Lady Fantasy to close the night probably stands as my favourite ever. I've also included a small folder of pictures from the night.

Taper Relayerx9 notes
Comparing with last year's gig in Wolverhampton I felt that Ton Scherpenzeel's playing added a 'dreamier' quality to the soundscape which made the gigs quite different. Not any better or worse than Guy LeBlanc, just different.

The Town Hall has a big, high vaulted ceiling and I noticed there were several suspended sound 'squares/baffles' (in clear glass/plastic? see picture) and I felt that the reflections from these contributed to the sound being a little bit 'wooly' at times, at least from where I was sat. This was more prevalent in first set but the sound seemed to settle down more in the second set (at least to my ears). I also felt that the first set was perhaps a little sterile probably due to the concert style, all-seater setting and an audience that seemed quite reserved to begin with (just my personal opinion). Of course, I think this all made for a great recording and it was genuinely a really great gig even if Andy and Colin screwed up a couple of times (lyrics in Lady Fantasy being a good example).

http://fp.io/5m9e1c49/

BRUCE SPRINGSTEEN - Shea Stadium, New York, NY - 10/01/2003

TITLLE: Shea Stadium Night #1
"LABEL": Reason To Believe (RTB)
FORMAT: 3 CD
SOURCE: Audience
DATE: October 1, 2003
LOCATION: Shea Stadium, New York, NY
ARTWORK: Yes
SOURCE: Unknow

CD 1:
01 Souls Of The Departed
02 The Rising
03 Lonesome Day
04 Night
05 Tunnel Of Love
06 Brilliant Disguise
07 Empty Sky
08 Waitin' On A Sunny Day
09 Johnny 99
10 Man's Job
11 The Fuse
12 Because The Night
13 Badlands
14 No Surrender

CD 2:
01 Mary's Place
02 American Skin (41 Shots)
03 Into The Fire
04 Who'll Stop The Rain
05 Kitty's Back
06 Born To Run
07 Seven Nights To Rock
08 "Thank You For Coming Out"
09 My City Of Ruins
10 Born In The USA

CD 3:
01 Rosalita (Come Out Tonight)
02 Dancing In The Dark

Night one. Beatles Schmeatles, the main set opens with "Souls of the Departed" (complete with a new "WMD" Dubya sound-bite intro) and closes with "Who'll Stop the Rain." Add the return of the full-band "Born in the U.S.A." in the encores, and you've got a powerhouse political show with current world events at the fore more than any British Invasion. Two tour premieres tonight: we finally get deeper into Nebraska with a full-band "Johnny 99" (last played by Bruce on the Tom Joad tour in '97), and "Man's Job" has its E Street Band debut, Bruce's first airing of the song in more than ten years. "Night" (replacing the setlisted "Roulette"), "Tunnel," and "Brilliant Disguise" all turn up, and Bruce doesn't shy away from "American Skin" upon returning to New York. In the encores, "Kitty's Back" is tonight's serenade from the second record. (BACKSTREETS)

----------------------------------------------------------
BONUS TRACKS
2003-08-02 Gillete Stadium, Foxboro, MA

03 Racing In The Street

* A beautiful "Racing in the Street" that might have been better served had it gone right into "No Surrender."

2003-08-09 Lincoln Financial Field, Philadelphia, PA

04 Adam Raised A Cain
05 Trapped
06 For You
07 Spirit In The Night
08 Tougher Than The Rest
09 Where The Bands Are

* Opened this one up with "Adam Raised a Cain." Some real treats for Philly tonight: full-band "For You" and "Spirit in the Night" for the old-timers, "Tougher Than the Rest" for everyone who thought he'd forgotten about the Tunnel album, and "Trapped" for everyone who... well, for everyone.

2003-09-06 Fenway Park, Boston, MA

10 Be True
11 Across The Border

2003-09-20 Darien Lake Performing Arts Center, Buffalo, NY

12 County Fair

* The other thrill-ride song of the night: the never-released, never-performed "County Fair." The song, which dates back two decades, has made the rounds in collectors' circles as a treasured studio outtake, but there never seemed to be hope of hearing the song live. For some, surely the biggest surprise of the tour; this "County Fair" performance featured Danny on accordion and Soozie on fiddle.

2003-09-16 Rentschler Field, Hartford, CT

13 Let's Be Friends (Skin To Skin)

* Tour premiere of "Let's Be Friends," the only song from The Rising that remained to be performed live.

http://fp.io/am7969am/

YES - Waldbühne, West-Berlin, GER June 18 1984

YES
Waldbühne, West-Berlin, GER   18. June 1984

Disc 1:
01.  Intro
02.  Leave It
03.  Yours Is No Disgrace
04.  Hold On
05.  Hearts
06.  All Good People
07.  Keyboard Solo >
08.  Guitar Solo
09.  Changes
10.  And You And I (a)
11.  And You And I (b)
12.  Soon

Disc 2:
01.  Owner Of A Lonely Heart
02.  It Can Happen
03.  Long Distance Runaround
04.  The Fish >
05.  Bass & Drums
06.  Fragile Grace
07.  Waiting For The Night > Starship Trooper
08.  Roundabout

approx. 132 mins

http://fp.io/aa12dc64/

JOE JACKSON - Boulder, CO - 03/27/2003

Joe Jackson
2003-03-27
Boulder, CO
Soundboard Recording
320 Kbps
Artwork Included

01. Intros
02. One More Time
03. Take It Like A Man
04. Awkward Age
05. Look Sharp
06. Chrome
07. Down To London
08. On Your Radio
09. Is She Really Going Out With Him
10. Love At First Sight
11. Real Men
12. Mayor Of Simpleton
13. Stepping Out
14. Different For Girls
15. Fairy Dust
16. Beat crazy
17. Sunday Papers
18. Thugs R US
19. Got The Time
20. Blaze Of Glory
21. I'm The Man

http://fp.io/d29d698b/

PEARL JAM - Key Arena Seattle, WA - 12/06/2013

Pearl Jam
Dec. 6, 2013
Key Arena
Seattle, WA

Pendulum
Nothingman
Elderly Woman Behind The Counter In A Small Town
Interstellar Overdrive
Corduroy
Lightning Bolt
Mind Your Manners
Given To Fly
Pilate
Garden
Getaway
Even Flow
Sirens
In My Tree
Do The Evolution
Unthought Known
Black
Let The Records Play
Spin The Black Circle
Lukin
Better Man
ENCORE 1
After Hours
Let Me Sleep
Future Days
Daughter
Chloe Dancer
Crown Of Thorns
Breath
State Of Love And Trust
Porch
ENCORE 2
Supersonic
Got Some
Rearviewmirror
Alive
Kick Out The Jams
Eruption
Yellow Ledbetter

http://fp.io/df7f875d/

PEARL JAM - Rogers Arena Vancouver, BC - 12/04/2013

Pearl Jam
Dec. 4, 2013
Rogers Arena
Vancouver, BC

Oceans
Can't Keep
Low Light
Corduroy
Breakerfall
Mind Your Manners
Why Go
Gods' Dice
Lightning Bolt
In Hiding
Even Flow
Setting Forth
Not For You
Daughter
Infallible
After Hours
Sirens
Jeremy
Gonna See My Friend
Improv 12/02/13
Porch
ENCORE 1
Soon Forget
Yellow Moon
Thumbing My Way
Footsteps
Mother
Insignificance
Given To Fly
Got Some
Better Man
ENCORE 2
Go
Do The Evolution
Black
Alive
Kick Out The Jams
Yellow Ledbetter

http://fp.io/2bfce9d9/

PEARL JAM - Spokane Arena Spokane, WA - 11/30/2013

Pearl Jam
Nov. 30, 2013
Spokane Arena
Spokane, WA

Pendulum
Release
Sirens
Corduroy
Once
Lightning Bolt
Mind Your Manners
Faithfull
Tremor Christ
Even Flow
Getaway
Present Tense
Swallowed Whole
Daughter
After Hours
Let The Records Play
Push Me, Pull Me
Jeremy
Do The Evolution
Porch
ENCORE 1
I Won't Back Down
Nothing As it Seems
Footsteps
Severed Hand
Don't Gimme No Lip
Brain Of J.
Go
Black
Rearviewmirror
ENCORE 2
Given To Fly
Eruption
Ain't Talkin 'Bout Love
Alive
Yellow Ledbetter

http://fp.io/d5cd4m7c/

MOE. - WARTS AND ALL - Volume 5

moe. - Warts and All: Volume 5


Warts and All: Volume 5 is a live album recorded on February 22, 2005 at the Val Air Ballroom in Des Moines, Iowa. It is the fifth set in a collection of commercially-released full-concert live albums by the American jam band moe. Unlike most of the Warts and All releases, it does not contain any filler track(s). It was released on June 12, 2007.


Chuck Garvey — vocals, guitar, cover art
Rob Derhak — vocals, bass guitar
Vinnie Amico — drums
Al Schnier — guitar, vocals, keyboards, Moog synthesizer
Jim Loughlin — percussion, acoustic guitar

All tracks recorded live on February 22, 2005 at the Val Air Ballroom in Des Moines, IA.

Disc one

"Intro" — 0:56
"Bring You Down >" (Schnier) — 12:45
"Shoot First" (Garvey, moe.) — 7:42
"Captain America >" (Derhak) — 9:19
"She" (Schnier) — 14:48
"Y.O.Y. >" (Garvey) — 7:59
"George" (Schnier) — 15:33
Disc two

"Intro" — 1:24
"Spine of a Dog >" (Garvey) — 6:29
"Mexico >" (Schnier) — 21:51
"Plane Crash >" (Derhak) — 18:08
"Spine of a Dog >" (Garvey) — 4:37
"Yodelittle" (Schnier) — 1:29
Disc three

"Yodelittle >" (Schnier) — 27:48
"Spine of a Dog >" (Garvey) — 6:42
"Buster" (Derhak) — 13:09
"Encore: Tijuana Donkey Show" (Derhak) — 6:08
"New York City" (Derhak) — 5:11

http://fp.io/2m1m18b2/

MOE. - Warts and All: Volume 4

moe. - Warts and All: Volume 4


Warts and All: Volume 4 is a live album recorded on July 18, 1998 at the Copper Dragon in Carbondale, Illinois. It is the fourth set in a collection of commercially-released full-concert live albums by the American jam band moe.



Vinnie Amico - drums
Rob Derhak - bass, vocals
Chuck Garvey - guitar, vocals, illustrations
Al Schnier - guitar, vocals
Disc one

All tracks recorded live on July 18, 1998 at the Copper Dragon in Carbondale, Illinois.

"Tuning" — 1:23
"Threw It All Away" (Schnier) — 4:56
"St. Augustine" (Derhak) — 11:07
"Waiting for the Punchline" (Schnier) — 13:39
"Happy Hour Hero" (Derhak) — 11:25
"Backwoods" — 4:40
"Y.O.Y." > (Garvery) — 12:22
"Recreational Chemistry" (Schnier) — 16:52
Disc two

"The Harder They Come" (Cliff) — 7:30
"Tuning" — 0:40
"Dr. Graffenburg" > (Derhak) — 22:37
"Havah Negliah" > (traditional) — 5:07
"Time Ed" (Derhak) — 16:08
"Water" (Derhak) — 7:30
"Untitled" — 15:16
"Untitled" is a hidden track that is actually "Brent Black" > Low Rider > "Brent Black"
Disc three

"Yodelittle" > (Schnier) — 22:58
"Rebubula" > (Derhak) — 28:51
"I Know You Rider" (traditional) — 12:36
"Banter" — 1:26
"Bearsong" (Schnier) — 9:04


http://fp.io/2a91f916/

MOE. WARTS AND ALL - VOL # 3

2005 - Warts and All, Vol. 3
Recorded live on November 13, 1998 at the Vic Theater in Chicago, Illinois.


CD 1

1 32 Things 15:07
2 Nebraska 4:32
3 Timmy Tucker 26:31
4 California 10:33
5 Moth 16:26

CD 2

1 Intro 1:45
2 Plane Crash 20:46
3 Threw It All Away 5:48
4 Hi and Lo 5:22
5 Head 11:32
6 Buster 13:50
7 Sensory Deprivation Bank 13:58
8 [Untitled Track] 13:47

CD 3

1 Big World (Encore) 7:42
2 Witty Banter 0:42
3 Tambourine 8:34
4 I Know You Rider 8:20
5 Dr. Graffenberg 19:58
6 Jam 6:27
7 Rebubula 19:54


http://fp.io/227991a6/

MOE. - WARTS AND ALL - VOL 2

moe.
WARTS AND ALL VOLUME 2,
SEP 10, 2002
FEB 23, 2002
COMPILATION, LIVE
FATBOY RECORDS

1/Intro/1:04
2/Okay Alright/Derhak/5:04
3/She Sends Me/moe., Schnier/4:54
4/Spaz Medicine/moe., Schnier/9:58
5/Understand/Schnier/7:05
6/Letter Home/moe., Schnier/5:34
7/Timmy Tucker/Kids Jam/28:19
1/Kids/moe., Schnier/0:54
2/Mexico/Schnier/8:00
3/Happy Hour Hero/Derhak, moe./2:35
4/Seat of My Pants/Schnier/5:58
5/Sensory Deprivation/Bank/6:05

1/Four/Garvey, moe./13:41
2/Rebubula/Derhak, moe./20:28
3/Banter/2:05
4/Fire/Hendrix/32:32

Vinnie Amico/Drums
Rob Derhak/Bass Guitar, Vocals
Chuck Garvey/ Guitar, Vocals
Jim Loughlin/Acoustic Guitar, Percussion, Piccolo Bass
Al Schnier/Guitar, Mandolin, Vocals, Moog Synthesizer

REVIEW
by Rev. Keith A. Gordon
When the ever-popular Vermont band Phish went on hiatus in the late '90s, the steam was let out of the jam band movement, leading to dwindling live audiences and wholesale cuts by major labels looking toward the next trend. Don't tell the members of moe. that the jam band thing might have run its course, however. Dropped by Epic Records after a pair of decent albums for the label, moe. struck out on its own with encouraging results, touring constantly and slowly building a loyal following that revels in the band's instrumental virtuosity. Warts and All, Vol. 2 is a budget-priced three-CD set that captures the band in its natural environment (i.e., on-stage and playing in front of an enthusiastic audience). The second in a series of live albums released by the band's own Fatboy Records, Warts and All, Vol. 2 documents a February 2002 Atlanta performance in its entirety. The live setting allows the members of moe. to shine, the band kicking out a set list that includes material from each of its studio albums, from short, punchy rockers like "Okayalright" or "She Sends Me" to 20-minute-plus instrumental jams like "Kids." The band's mix of roots rock, blues, and jazz is refreshingly honest; Warts and All, Vol. 2 is a three-hour musical celebration of all that is right in the jam band genre.

BIOGRAPHY
by Jesse Jarnow
Rising from the dingy college bars of upstate New York, moe. carved a niche for itself with a distinct blend of Americana, melodic turns, clever songwriting, and jam band ethics. The bandmates were born and raised in the industrial town of Utica, but it took matriculation at the University of Buffalo for moe. to finally coalesce. Founded in 1990 by bassist/vocalist Rob Derhak, guitarist/vocalist Chuck Garvey, and original drummer Ray Schwartz, the band toured the University's party circuit under the name Five Guys Named Moe with several rotating members. Although they covered both contemporary pop and classic rock songs in concert, the group also recorded two demo tapes of original material -- Codename: Weaselshark and Spine of a Dog -- in 1991. Guitarist Al Schnier was added that same year.
While playing Buffalo bars like Broadway Joe's, they refined their cartoonishly offbeat sound, a slaphappy mix of Primus-like dementia and focused rhythms. By the time Fatboy was released in 1992), improvisation had begun to creep into the band's sets. Schwartz was soon replaced by Jim Loughlin. As Schnier began to develop his trademark psychedelic oscillating guitar sound, the quartet recorded HeadSeed in Buffalo and migrated east to Albany, which served as their homebase for the next three years. In early 1995, the band began to tour nationally; by mid-July, Loughlin had left to join Yolk and was replaced by Mike Strazza, a meticulously precise player. The band recorded Loaf over a two-night stand at New York City's Wetlands Preserve. By December, Strazza, too, was gone, replaced by Chris Mazur.
Mazur's playing, infinitely looser than Strazza's, opened the band up to wider improvisation, though it was a step back in terms of musical maturity. In the spring of 1996, moe. signed to Sony/550 Music, for whom they recorded No Doy in the summer. For their first single release, they chose a 46-minute cut of "Meat," recorded in the studio over the summer. In November, Mazur was fired, replaced by Vinnie Amico of Buffalo's Sonic Garden.
Following an opening slot on the Furthur Tour in the summer of 1997, moe. recorded Tin Cans and Car Tires as they began to place increasing importance on the traditional song form. Loughlin rejoined as an auxiliary percussionist in 1999, and the band was dropped from Sony's roster. That fall, the expanded lineup recorded and released the double-live album L on their own Fatboy Records, showcasing the new textures of the quintet. This was followed in early 2000 with Dither, an experimental effort that was co-produced with John Siket. Three years later, moe. highlighted their studio and live brilliance with the release of Wormwood. A parade of concert albums followed during the 2000s, including volumes in the Instant Live and Warts and All series.
moe. has been a staple for years at music festivals nationwide -- especially at Bonnaroo in the southeast. In addition to headlining festivals, moe. hosts two of their own: moe.down and snoe.down, both held in upstate New York in the late summer and late winter, respectively. Amid all this live activity, the band released a compilation of two earlier releases, No Doy/Tin Cans and Car Tires, in 2006. They followed it up with their first studio effort in four years, 2007's The Conch, and returned in 2008 with Sticks and Stones and Dr. Stan's Prescription, Vol. 1.
http://fp.io/3e99437m/

MOE. - WARTS AND ALL VOL 1

moe.
WARTS AND ALL
NOV 6, 2001
FEB 28, 2001
COMPILATION, LIVE
FATBOY RECORDS

1/Intro/1:09
2/Head/moe., Schnier/15:47
3/The Ghost of Ralph's Mom/Dernak/4:37
4/Nebraska/Derkak, moe./4:55
5/Crab Eyes/moe./10:02
1/Moth/Schnier, moe./17:33
2/Timmy Tucker/Derhak, moe./30:39
3/Intro/0:53
4/Happy Hour Hero/Derhak, moe./15:13
5/Seat of My Pants/Schnier/9:48
1/Tambourine/Derhak/8:37
2/Waiting for the Punchline/Schnier/16:40
3/Kyle's Song/moe./13:43
4/Meat/moe., Schnier/29:18
5/Moth Reprise/1:46
6/Encore Intro/0:56
7/I Wanna Be Sedated/Colvin, Cummings, Hyman/3:14

Vinnie Amico/Drums
Rob Derhak/Bass Guitar, Vocals
Chuck Garvey/Guitar, Vocals
Jim Loughlin/Percussion

REVIEW
by Jesse Jarnow
Far more lively than L, moe.'s previous live record, the first volume in the Warts and All series captures a complete show from the upstate New York quintet at the Scranton Cultural Center in Pennsylvania, recorded shortly after the release of Dither. A good cross-section of the band's career is represented over the show's three discs, including some of their earliest songs ("Timmy Tucker," "Meat"), songs from 1998's Tin Cans and Car Tires ("Nebraska," "Head"), tunes from Dither ("The Ghost of Ralph's Mom," "Tambourine"), and songs debuted only a few months before the show ("Crab Eyes," "Kyle's Song"). The focus is on the improvisation, which is still somewhat predictable compared to what the band is capable of, though there are certainly myriad exciting moments throughout, notably on "Meat" and the segue from "Happy Hour Hero" to "Seat of My Pants," a live favorite. In particular, multi-instrumentalist Jim Loughlin shines here, adding electronic vibes and piccolo bass throughout to create a densely melodic wall. Also of note is the album debut of "Crab Eyes," a stunning song which -- with Loughlin's vibes in full effect -- is reminiscent of Ruth Underwood-era Frank Zappa. Though the band is tie-dyed, its post-punk roots are still quite visible with songs like "The Ghost of Ralph's Mom" and an encore cover of the Ramones' "I Wanna Be Sedated."

BIOGRAPHY
by Jesse Jarnow
Rising from the dingy college bars of upstate New York, moe. carved a niche for itself with a distinct blend of Americana, melodic turns, clever songwriting, and jam band ethics. The bandmates were born and raised in the industrial town of Utica, but it took matriculation at the University of Buffalo for moe. to finally coalesce. Founded in 1990 by bassist/vocalist Rob Derhak, guitarist/vocalist Chuck Garvey, and original drummer Ray Schwartz, the band toured the University's party circuit under the name Five Guys Named Moe with several rotating members. Although they covered both contemporary pop and classic rock songs in concert, the group also recorded two demo tapes of original material -- Codename: Weaselshark and Spine of a Dog -- in 1991. Guitarist Al Schnier was added that same year.
While playing Buffalo bars like Broadway Joe's, they refined their cartoonishly offbeat sound, a slaphappy mix of Primus-like dementia and focused rhythms. By the time Fatboy was released in 1992), improvisation had begun to creep into the band's sets. Schwartz was soon replaced by Jim Loughlin. As Schnier began to develop his trademark psychedelic oscillating guitar sound, the quartet recorded HeadSeed in Buffalo and migrated east to Albany, which served as their homebase for the next three years. In early 1995, the band began to tour nationally; by mid-July, Loughlin had left to join Yolk and was replaced by Mike Strazza, a meticulously precise player. The band recorded Loaf over a two-night stand at New York City's Wetlands Preserve. By December, Strazza, too, was gone, replaced by Chris Mazur.
Mazur's playing, infinitely looser than Strazza's, opened the band up to wider improvisation, though it was a step back in terms of musical maturity. In the spring of 1996, moe. signed to Sony/550 Music, for whom they recorded No Doy in the summer. For their first single release, they chose a 46-minute cut of "Meat," recorded in the studio over the summer. In November, Mazur was fired, replaced by Vinnie Amico of Buffalo's Sonic Garden.
Following an opening slot on the Furthur Tour in the summer of 1997, moe. recorded Tin Cans and Car Tires as they began to place increasing importance on the traditional song form. Loughlin rejoined as an auxiliary percussionist in 1999, and the band was dropped from Sony's roster. That fall, the expanded lineup recorded and released the double-live album L on their own Fatboy Records, showcasing the new textures of the quintet. This was followed in early 2000 with Dither, an experimental effort that was co-produced with John Siket. Three years later, moe. highlighted their studio and live brilliance with the release of Wormwood. A parade of concert albums followed during the 2000s, including volumes in the Instant Live and Warts and All series.
moe. has been a staple for years at music festivals nationwide -- especially at Bonnaroo in the southeast. In addition to headlining festivals, moe. hosts two of their own: moe.down and snoe.down, both held in upstate New York in the late summer and late winter, respectively. Amid all this live activity, the band released a compilation of two earlier releases, No Doy/Tin Cans and Car Tires, in 2006. They followed it up with their first studio effort in four years, 2007's The Conch, and returned in 2008 with Sticks and Stones and Dr. Stan's Prescription, Vol. 1.
http://fp.io/m7f6m1e3/

GRATEFUL DEAD BUST BENEFIT - WINTERLAND,S.F. - FEB.23,1970

Found in OuterSpace
No Artwork

The Winterland Ballroom, often referred to as Winterland Arena or simply Winterland, was an old ice skating rink and 5,400 seat music venue in San Francisco, California. Located at the corner of Post Street and Steiner Street, it was converted to exclusive use as a music venue in 1971 by rock promoter Bill Graham. The building has been torn down and apartments have been built on the site.

Winterland was built in 1928 for the then astronomical cost of $1 million. Opening on June 29, 1928, it was originally known as the "New Dreamland Auditorium." Sometime in the late 1930s, the name was changed to Winterland. In its early years it served as an ice skating rink that could be converted to an entertainment venue. Early acts/shows at Winterland included Shipstad and Johnson's Ice Follies. It also was host to opera, boxing, and tennis.

Starting with a 1966 double bill of Jefferson Airplane and the Paul Butterfield Blues Band, Bill Graham began to occasionally rent the venue for larger concerts that his nearby Fillmore Auditorium could not properly accommodate. After closing his New York City venue known as the Fillmore East in 1971, he began to hold regular weekend shows at Winterland. Various popular rock acts played there, including such bands and musicians as Bruce Springsteen, The Rolling Stones, Queen, Cream, The Doors, Jimi Hendrix, Led Zeppelin, Steppenwolf, Lynyrd Skynyrd, Styx, Allman Brothers Band, The Grateful Dead, The Band, Jethro Tull, Pink Floyd, Rush, Genesis, Jefferson Airplane, Traffic, Grand Funk Railroad, Humble Pie, Bob Seger and the Silver Bullet Band, Emerson Lake and Palmer, Sha Na Na, Loggins and Messina, Lee Michaels, Heart, Deep Purple and Elvis Costello, the latter in support of his Armed Forces album. A great number of the best-known rock acts from the 1960s and 1970s played Winterland or played two blocks away across Geary Boulevard at the original Fillmore Auditorium. Peter Frampton recorded parts of the 4th best-selling live album ever, Frampton Comes Alive!, at Winterland. The Grateful Dead made Winterland their home base, and The Band played their famous last show there on Thanksgiving Day 1976. That concert, featuring numerous guest performers including Neil Young, Eric Clapton, Bob Dylan, Joni Mitchell, and many others, was filmed by Martin Scorsese and released in theaters and as a soundtrack under the name The Last Waltz. Winterland was also host to the Sex Pistols' final show on January 14, 1978.

During Winterland's final month of existence, shows were booked nearly every night. Acts included The Tubes[1], The Ramones, Smokey Robinson, Tom Petty and the Heartbreakers, and on December 15–16, 1978, Bruce Springsteen & the E Street Band. Springsteen's December 15 show was simulcast on local radio station KSAN-FM and Springsteen historians consider that show one of his most legendary. Winterland closed on New Years 1978/79 with a concert by the Grateful Dead, New Riders of the Purple Sage, and The Blues Brothers. The show lasted for over eight hours, with the Grateful Dead's performance — documented on DVD and CD as The Closing of Winterland — lasting nearly six hours itself. The final show was simulcast on radio station KSAN-FM and also broadcast live on the local PBS TV station KQED. Winterland was eventually torn down in 1985, and was replaced by apartments.

GRATEFUL DEAD BUST BENEFIT
WINTERLAND,S.F.
FEB.23,1970

QUICKSILVER MESSENGER SERVICE

01.TUNING/WARMUP JAM
02.BILL GRAHAM INTRO/FRESH AIR
03.PRIDE OF MAN ( FADES IN )
04.MONA
05.GOLD AND SILVER
06.MOJO
07.SUBWAY
08.EDWARD THE MAD SHIRT GRINDER

IT'S A BEAUTIFUL DAY

01.SOAPSTONE MOUNTAIN
02.GOOD LOVIN'
03.DON AND DEWEY
04.TALK
05.LET A WOMAN FLOW
06.HOEDOWN
07.IT COMES RIGHT DOWN TO YOU
08.TUNING
09.WHITE BIRD
10.WASTED UNION BLUES
11.CROWD/TUNING
12.DO YOU REMEMBER THE SUN ?

SANTANA

01.WAITING
02.BATUKA
03.SAVOR
04.JINGO

JEFFERSON AIRPLANE

01.WE CAN BE TOGETHER >
02.VOLUNTEERS
03.TUNING
04.GOOD SHEPHERD
05.SOMEBODY TO LOVE
06.NOTHING
07.TUNING
08.GREASY HEART ( END CUTS )  **** MISSING ON VERSION 1 ****
09.EMERGENCY ( CUTS IN )
10.UNCLE SAM BLUES ( CUTS IN )
11.HAVE YOU SEEN THE SAUCERS
12.TUNING
13.MEXICO
14.OTHER SIDE OF THIS LIFE
15.3/5 OF A MILE IN 10 SECONDS
http://fp.io/cma2548f/

TANGERINE DREAM - PURGATORIO

http://fp.io/726c5d4e/

THE ROLLING STONES - SWEET HOME CHICAGO (Empress Valley Supreme Disc - EVSD 381/382)

THE ROLLING STONES - SWEET HOME CHICAGO
(Empress Valley Supreme Disc - EVSD 381/382)

LINEAGE:
Original bootleg CDs -> WAV (EAC v. 0.95 beta 4 - secure, Offset "actual") -> FLAC (flacfrontend, level 6) -> You

DATE:
Rosemont Horizon, Des Plaines (near Chicago), Illionois
November 24th 1981

QUALITY:
Excellent Mono Soundboard

PERFORMANCE:
Great one!
....but it's not the best 1981 show....nor is it the worst either

COMMENTS:
This bootleg has been shared by others on various trackers.
But my upload here is not a reseed - it's my own silver rip
Also - I have scanned the artwork in high resolution. As far as I know; the artwork for this release is not available anywhere on the web.
So....at least this torrent feature *something* new.

ARTWORK:
Selfmade scans included, as mentioned.


TRACKLIST:

DISC 1:

01. Take The A Train
02. Under My Thumb
03. When The Whip Comes Down
04. Let's Spend The Night Together
05. Shattered
06. Neighbors
07. Black Limousine
08. Just My Imagination
09. Down The Road Apiece
10. Going To A Go Go
11. Let Me Go
12. Time Is On My Side
13. Beast Of Burden
14. Waiting On A Friend
15. Let It Bleed


DISC 2:

01. You Can't Always Get What You Want
02. Band Introductions
03. Little T & A
04. Tumbling Dice
05. She's So Cold
06. All Down The Line
07. Hang Fire
08. Miss You
09. Start Me Up
10. Honky Tonk Women
11. Brown Sugar
12. Jumpin' Jack Flash
13. (I Can't Get No) Satisfaction
http://fp.io/m1m34b79/

THE ROLLING STONES - ARE YOU FEELIN' GOOD ? (Empress Valley Supreme Disc - EVSD 323/324)

THE ROLLING STONES - ARE YOU FEELIN' GOOD ?
(Empress Valley Supreme Disc - EVSD 323/324)

LINEAGE:
Original bootleg CDs -> WAV (EAC v. 0.95 beta 4 - secure, Offset "actual") -> FLAC (flacfrontend, level 6) -> You

DATE:
Civic Center, Hartford, Connecticut
November 9th 1981

QUALITY:
Excellent Mono Soundboard (audience quality at certain places, to make the show complete)

PERFORMANCE:
One of the best 1981 performances, just like the Hartford show on the following day (IMO).
Recommended

COMMENTS:
This is one of the best sounding of the "newly circulating" 1981 board tapes - in general.

(This Empress Valley release is also better sounding than disc 1+2 of the DAC release "Still Life In Hartford". So you need this, even if you have that DAC. )
I have seen this bootleg torrented on other sites, with no lineage - or taken from CDR. But this is *my rip* from original silvers.

ARTWORK:
I scanned the artwork today, and it's included (better resolution than the artwork available on the web)


TRACKLIST:

DISC 1:

01.Take The A Train
02.Under My Thumb
03.When The Whip Comes Down
04.Let's Spend The Night Together
05.Shattered
06.Neighbors
07.Black Limousine
08.Just My Imagination
09.Down The Road Apiece
10.Going To A Go Go
11.Let Me Go
12.Time Is On My Side
13.Beast Of Burden
14.Waiting On A Friend
15.Let It Bleed


DISC 2:

01.You Can't Always Get What You Want
02.Band Introductions
03.Little T & A
04.Tumbling Dice
05.She's So Cold
06.All Down The Line
07.Hang Fire
08.Miss You
09.Start Me Up
10.Honky Tonk Women
11.Brown Sugar
12.Jumpin' Jack Flash
13.(I Can't Get No) Satisfaction
http://fp.io/364bm615/

THE ROLLING STONES - The Tokyo Dome Tokyo, Japan - 03/24/2006

The Rolling Stones
2006-03-24
The Tokyo Dome
Tokyo, Japan
Soundboard Recording


CD 1:
01. Opening
02. Start Me Up
03. It’s Only Rock ‘n Roll
04. Oh No Not You Again
05. Bitch
06. Tumbling Dice
07. Worried About You
08. Ain’t Too Proud To Beg
09. Midnight Rambler
10. Gimme Shelter
11. Band Introductions
12. This Place Is Empty
13. Happy

CD 2:
01. Miss You
02. Rough Justice
03. You Got Me Rocking
04. Honky Tonk Women
05. Sympathy For The Devil
06. Jumping Jack Flash
07. Brown Sugar
08. You Can’t Always Get What You Want
09. Satisfaction

While fans are trying to get their hands on Live At The Tokyo Dome (February 26, 1990) - the just released Vol 4 of the Stones Archive Bootleg Series, here is the 2006 Tokyo show to further whet your appetite.
Second Bang In Tokyo, like the first night’s release, comes from a great recording sourced from the ALD (assistive listening device) broadcast in the Tokyo Dome that night…

The opening night in Tokyo is a great show, but this one is better with much more energy. They changed the set list around a bit by opening with “Start Me Up” followed by a tight version of “It’s Only Rock And Roll”. “Worried About You” is another addition to the set list followed by “Ain’t Too Proud To Beg”, bringing back memories of 1975. Mick misses a cue at the end of “Miss You” which is the only real big mistake of the night. “You Got Me Rocking” is also played on the B-stage, although I really think this song fits better earlier in the show. The rest of the show is great as are the standard encores of this tour.

http://fp.io/c3f3m28e/