March 9, 2015
YES - Boston, MA, USA - 06/18/1976
Format: Audience recording ["AR"]
Venue: Boston Garden [capacity +/- 15,000]
Source: Original taper sadly unknown, but clearly professional. There may be one tape generation and the original CD transfer between them and my very trusted, highly professional source. Whatever the unknowns, let us all thank this individual feverishly for his generosity in sharing a real candidate for 'holy grail of Yesdom' status
Lineage: Original master tapes of the highest caliber for 1976 > possibly a very high quality first generation tape copy > CDR [transfer equipment and protocol unknown but obviously professional] > EAC > CEP 2.0 > Ray Gun 3.0 > FLAC Frontend > Bit Torrent to Dime
Lineup: Vocals - Jon Anderson, Keyboards - Patrick Moraz, Guitars - Steve Howe, Bass Guitars - Chris Squire, Percussion - Alan White
Setlist Vol. 1: 01Siberian Khatru, 02Sound Chaser, 03All Good People, 04The Gates of Delirium, 05Long Distance Runaround, 06Patrick Moraz Solo, 07Steve Howe Solo, 08Jon Anderson Solo [harp, accompanied], Heart of the Sunrise
Setlist Vol. 2: 01Ritual-First Movement, 02Ritual-Second Movement* [includes Chris Squire and Alan White Solos], 03Roundabout, 04I'm Down [Beatles cover]
*Suffers the entire AR's only break - roughly 15 seconds and likely due to a cassette change by taper.
Recording Strengths:
1976 was a very strange year for ARs, or Yes ARs at least. Before this one I'd analyzed more than 2 dozen and the best of them only offered an upper strata of "collectors only" sound quality. The numbers began to improve dramatically in 1977 and beyond, but even more strangely I hadn't run across a single 1976 Yes AR of same quality as some going back to 1972. When one saintly soul sent me his unedited master copy of the enclosed Boston concert I had higher hopes for it as he'd already shared the absolute best 1970s Yes ARs I ever dreamed could exist. Despite tape age and a possible 1st generation, when I first played it I was floored. Here was a [thankfully unedited] original 1976 Yes AR sound capture completely and utterly superior to any I'd heard before. It had unbelievable detail across the entire aural spectrum, even though it obviously would require extensive work to reveal completely in most samplings of playback systems. Yes 18 June 1976 appears often in trader networks and in them may or may not be the same source, but their ratings are rarely high. Now thanks to Dime you can get what I'm prepared to bet one of the best if not THE best 1976 Yes ARs from the comfort of your own keyboard, bypassing completely the often fickle, frustrating world of traders and snailmail
Nearly a year later it would take as much disc space as the concert itself to detail what the clearly superior source still needed to sound its best. One thing I've learned about remastering older analog ARs - the best ones are much harder to get right because they already have so much detail so vulnerable to screwing up yet usually requiring some degree of liberation from their often deteriorating tape trappings. A 'brief' description of goals and results should suffice. Another difference in my approach is hard copy "Beta" testing among a select and trusted group prior to general distribution.
High frequencies in all their many layers were already in the raw master, but needed extensive 'polishing' to sound more completely as the audience heard them. My approach to EQ work involves many hours of very small, compounded passes of settings designed to avoid distortion and any change in the frequencies' natural sound or balance. A cymbal, guitar, voice or a Moog tone should sound like one, not like something else. This is especially true in Yes' case, whose concert sound was as detailed as their studio sound. All too often such things become nearly unrecognizable in remastered ARs no matter what their source quality. In B76 we can distinguish each sound from every other, and it even comes closer than most 1970s Yes ARs to delivering undistorted detail from things like crash cymbals we most often hear in ARs made after 1990."Thicker" crash cymbal sounds are actually very distinguishable in this AR now, and they keep ringing just as they would right in front of us. Other high frequency sounds enjoy similar detail.
Tape hiss - the strongest evidence for a first generation source - did become quite fierce after high frequency work completed. In fact, together with a miscalculation in the EQ work itself hiss actually forced a scratch restart of the whole project at one point [it was really worth it:]. Even in the complete new remaster hiss volume exceeded that of the very highs so painstakingly revealed. Thankfully it was possible to reduce hiss to tolerable levels using some experimental noise reduction settings without ANY perceptible damage to signal and without ANY perceptible digital artifact insertion where signal occurs. In the isolated samples used for nr profiling hiss was largely replaced by artifact, but it has not been detected anywhere in the desired recording. To achieve this kind of side effect-free noise reduction work the settings had to be extremely subtle, thus more than 500 passes of them were ultimately needed.
Midrange and bass frequencies. All had to be treated equally with highs to avoid a 'mixed' AR and preserve its original sound spectrum balance. Bass guitars and various low end percussion like kick drums and toms should be nearly as thunderous and three dimensional to the downloader as they were to the 1976 Boston audience, without peaking or overwhelming any other part of the spectrum. Midrange sounds like electric piano and Steve Howe's hollow-bodied Gibson guitars can be among the most difficult to reveal of any part of an AR's spectrum, but here we can detect every layer of the guitars' 'voices' down to the subtlest properties of their wood. Even audience noise/chatter is rendered so realistic we could almost fool ourselves into thinking we're there, and the audience' enthusiasm for what they were seeing and hearing becomes all the more infectuous. One member of the 'Beta' test group even thought applause was digital clipping at first hearing.
The whole purpose of having ARs lies in their far more realistic capture of what audiences heard and felt than soundboard-sourced official releases or even unedited soundboard boots possibly can. Even bottom shelf ARs do this to some degree. In B76 you have one straight from the top shelf and a remaster strictly adhering to a philosophy of 'excavation' and preservation of its original sound capture, not mixing. I'm hopeful the result speaks for itself in your playback systems - it should come as close to transporting the listener back in time and space right to the middle of Yes' 1976 Boston audience as anything could short of a real time machine. As much as anything we have Yes themselves to thank for their concert sound system standards. In the '70s they were truly state of the art, and their quality has not been surpassed to this very 21st century day. This AR and its remaster should deliver very realistic Yes concert sound at any volume in most playback systems.
Yes' performance - top notch as ever. All the more impressive given the conditions they had to perform in that night, detailed by one attendee's testimony below. Boston's New England climate is similar to that of Europe, but it can still get plenty hot there in summer. Hot it was on 18 June 1976, and the venue's ventilation system I'm told had broken down. Yes nonetheless soldiered through it thanks to their consummate professionalism and technical skill level so rare among 'rock' bands. It wasn't just skill though - I'm a serious Yes freak due to their imagination and creative energy as much as anything. Both attributes were at the fore in Boston that night. It may not have been their best night of the tour and Moraz' playing at least does seem to have a certain 'rawness'about it no doubt due to the uncomfortable venue conditions, but it was certainly a Yes performance to remember.
Weirdnesses:
Vol. 1 and Vol. 2 had and still have some very interesting sound property differences. Vol. 1 had more bass but less high end going in. Vol. 2 at the start had poorer low frequency distribution but much brighter highs. Part of the year spent remastering went to matching the two for more continuity, again with a mind to not altering the overall spectrum balance of either. They're close enough together now, but Vol. 2 still has slightly brighter high end and Vol. 1 slightly punchier bass. Working hypotheses - A] one is original master transfer and the other first generation, B] They're different ARs altogether with different tapers, c] single taper may have moved from his original position relative to stage. If and as I learn more I'll share it with interested Dime membership.
Weaknesses:
ARs all have them, and despite its overall superior nature so does B76. Some are irreversible. Among them in B76' case counts a certain degree of high frequency oscillation. One of the last year's remastering challenges has been getting the most out of what was good without making oscillation worse. It's most audible in very high frequency sounds like percussive metals, and slightly more noticeable in Vol. 1. Hypotheses: tape wear/ageing in masters, single generation master tapes and/or ageing/wearing in them, or [least likely] the original sound capture. Other weaknesses include some dropout but it's miraculously infrequent for such an old AR. In Vol. 2 certain midrange percussion may not be quite as defined as in Vol. 1 due to the as-yet unidentified differences in source files.
Tape hiss remains noticeable despite hard nr work. Its volume is now well below that of highs it had been obscuring at one time, but it's still there. A few final attempts to get more of it out without damaging desired sound were unsuccessful - they both attacked signal and inserted artifact over signal. Hopefully some new technology I don't have yet will effect further success later on. If it does I'll be reuploading it forthwith. For now I had to go with the option of giving everyone an undiluted sound capture, and remaining hiss seems quite tolerable. Vol. 2 has slightly stronger hiss - there were no isolated hiss samples long enough in it to dehiss its material as effectively.
Hum appeared in Vol. 2 after low frequencies treated to match venue levels and Vol. 1's better original low frequency capture. I was able to get rid of most of it using a setting in Ray Gun Pro 3.0, but a trace remains. It's only noticeable in a few short, quiet passages thankfully.
Miscellaneous sound quality issues include a bit of sibilance in Vol. 1 at high playback volume
This AR now so closely resembles the real thing there could be some problems in some playback systems. My own office desktop setup among them, but it's basically crap so I don't count it. One very high end factory automobile system among the "Beta" test group apparently rendered high frequencies overwhelming and one last low frequency EQ pass was created to mitigate it. If anyone else has this experience please alert me at once. A second upload treated with Ozone is planned in case it presents a problem anywhere.
Fireworks obnoxiousness from audience. One attendee from what I can determine, but he's enough. I didn't excise these moments because they're part of the historic event. Nonetheless the s.o.b. was in front row and throwing his live M80s and other ordinance on stage near the band's mikes so PA would pick them up. Even at low playback volume it could force a change of shorts. My apologies for not deleting these moments, but as part of the history and after some debate I decided to leave them in place. It was a rarity at Yes concerts, so in a sense actually fascinating. It's also important to note Yes themselves never sunk to pyrotechnic depths like like so many schlock rock acts then and now.
So there you have it, dear fellow Dimers. I think this upload will really make quite a few days, despite its inevitable shortcomings.They in turn are miraculously few given the format and forum.
If anyone has unedited equitable or superior 1976 Yes ARs, please upload them to Dime at once. History will thank you!
AN IMPORTANT MESSAGE FROM MY SOURCE, who also provided the enclosed photo files.
Most importantly let us all thank him for making this whole thing possible:
"This concert took place the night after the famous FM broadcast from Roosevelt Stadium in Jersey City. Like the weather in Boston, the performance was hot, sweaty, and intense.
Having been built in 1928, the old Boston Garden had no air conditioning. The ventilation was poor at the best of times and apparently had completely broken down that night. The air was steamy and thick with smoke.
The uncomfortable conditions, however, provided an unexpected benefit. The band changed costumes several times, allowing the audience to several concerts worth of their touring wardrobe.
Loud explosions (probably M-80s) interrupted the show at several points. This was a fairly common occurrence at Boston concerts at that time. Security must have been quite lax. Unlike Frank Zappa, who threatened to end his show after the next explosion, Yes simply took it in stride.
The photos included in this torrent were my first attempt at hand-holding a 300mm telephoto lens from the audience. Although only a few images are worth sharing, they capture a little of what the Crab Nebula stage was like."
http://www.filefactory.com/file/4cleuvcmq40p/yes%20%201976-06-18%20-%20Boston%20Garden%20-%20Boston%20MA.rar
March 8, 2015
GOV'T MULE - Ryman Auditorium, Nashville, TN - 03/05/2015
March 5, 2015 Ryman Auditorium, Nashville, TN
SET ONE
Brighter Days >
Broke Down On The Brazos
Wine & Blood >
Soulshine >
Creep
Tell Me Something Good with John Scofield
Boogie Stoopid > with John Scofield
Stratus with John Scofield
SET TWO
Rocking Horse > with John Scofield
Birth Of The Mule with John Scofield
Freeway Jam with John Scofield
No Need To Suffer
Million Miles From Yesterday
ENCORE
Feel Like Breaking Up Somebody's Home with John Scofield, Will It Go Round In Circles lyrics
http://www.filefactory.com/file/5xz38gxduhwv/gm030515.zip
GOV'T MULE - Beacon Theatre New York, NY - 12.31.2009
Gov't Mule - Beacon Theatre - 12.31.2009 [SBD]
Gov't Mule
Beacon Theatre
New York, NY
12.31.2009
** one of my favorite mule shows with cover songs from woodstock 69'**
DISC 1
1. Bad Little Doggie
2. Inside Outside Woman Blues
3. Larger Than Life >
4. Frozen Fear
5. Forevermore
6. Painted Silver Light >
7. No Need To Suffer >
8. Mule > with Highway Star Tease
9. Whole Lotta Love >
10. Mule
DISC 2
1. Freedom (Warren & Marc Quinonnes)
2. Coming Into Los Angeles w/ Marc Quinonnes (No Matt Abts)
3. Good Morning Little Schoolgirl
4. Going Home
5. Ball & Chain w/ Dana Fuchs, Pam Fleming, Jenny Hill & Buford O'Sullivan
6. Piece Of My Heart w/ Dana Fuchs, Pam Fleming, Jenny Hill & Buford O'Sullivan
7. Savior > w/ Marc Quinonnes
8. Jingo w/ Marc Quinonnes
9. Soul Sacrifice w/ Marc Quinonnes
DISC 3
1. Delta Lady w/ Dana Fuchs, Marc Quinonnes, Pam Fleming, Jenny Hill & Buford O'Sullivan
2. Let's Go Get Stoned w/ Dana Fuchs, Marc Quinonnes, Pam Fleming, Jenny Hill & Buford O'Sullivan
3. With A Little Help From My Friends > w/ Dana Fuchs, Marc Quinonnes, Pam Fleming, Jenny Hill & Buford O'Sullivan
4. New Years Countdown >
5. With A Little Help From My Friends w/ Dana Fuchs, Marc Quinonnes, Pam Fleming, Jenny Hill & Buford O'Sullivan
6. Dance To The Music > w/ Dana Fuchs, Marc Quinonnes, Pam Fleming, Jenny Hill & Buford O'Sullivan
7. Music Lover w/ Dana Fuchs, Marc Quinonnes, Pam Fleming, Jenny Hill & Buford O'Sullivan
8. I Want To Take You Higher w/ Dana Fuchs, Marc Quinonnes, Pam Fleming, Jenny Hill & Buford O'Sullivan
9. Fish Cheer (Matt Solo Acoustic)
10. Dark Star > w/ Marc Quinonnes
11. Somebody To Love w/ Dana Fuchs & Marc Quinonnes 12. I Put A Spell On You
13. Don't Do It w/ Pam Fleming, Jenny Hill & Buford O'Sullivan
DISC 4
1. Mean Mistreater
2. Helplessly Hopin Warren & Danny Acoustic w/ Marc Quinonnes, Dana Fuchs & Pam Fleming
3. "Don't Eat The Brown Acid"
4. Helplessly Hoping Reprise
5. I'm Free >
6. Listening To You
7. The Star Spangled Banner >
8. Purple Haze
http://www.filefactory.com/file/x4l6t6rn2e1/Gov_t%20Mule%20%202009-12-31%20Live%20At%20The%20Beacon%20Theatre%2C%20New%20York%2C%20Ny.rar
GOV'T MULE - Beacon Theatre New York, NY - 12.30.2009
Gov't Mule
Beacon Theatre
New York, NY
12.30.2009
DISC 1
1. Broke Down On The Brazos
2. Rocking Horse >
3. Banks Of The Deep End
4. Lay Your Burden Down
5. Steppin' Lightly
6. Any Open Window
7. Devil Likes It Slow with Jon Herrington & Bill Evans
8. Sco-Mule with Jon Herrington & Bill Evans & Dance To The Music chorus
DISC 2
1. Railroad Boy >
2. Monday Mourning Meltdown >
3. Beautifully Broken >
4. Wandering Child >
5. Drums >
6. Drums & Bass
7. Feel Like Breaking Up Somebody's Home with David Hidalgo
8. Dear Mr. Fantasy with David Hidalgo
9. Thorazine Shuffle
DISC 3
1. Feel Like Going Home with David Hidalgo, First Time Played
2. Look On Yonder Wall with David Hidalgo
3. Woodstock
http://www.filefactory.com/file/7h26p6kebtvn/Gov_t%20Mule%20%202009-12-30%20Live%20At%20The%20Beacon%20Theatre%2C%20New%20York%2C%20Ny.rar
YES - OPEN THE GATES - Roosevelt Stadium Jersey City, New Jersey - 06/17/1976
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YES
OPEN THE GATES
June 17, 1976
SBD > "Master FM" (unknown media) > remastered by SMT using unknown software > PRRP ReMastering*>shn
Notes from the Re-master:
Since the source for this concert is a radio broadcast, the sound quality is generally good to begin with. The actual
source was a CD version of the master tapes obtained from the broadcasting radio station WNEW. We would like to
thank Shaun Toole for providing his remastered source to us for this project.
Viable music signal was present up to 18,000 Hz. This is quite rare for progressive rock concerts available from the
1970’s and makes this recording quite unique. A radio transmission or microphone / patch cord buzz occurred in the
left channel off and on throughout the show and needed to be corrected. Fortunately, the buzz was specifically identified
in the frequency spectrum and was surgically attacked. This approach produced a minimal effect on the remainder of the
music. Pops and clicks occurred frequently and were manually removed. Radio announcer volume was out of proportion
to the music in some segments and needed to be adjusted. Finally, only a slight amount of noise reduction was needed
during quite segments.
*From the PRRP website:
All remastered works are made with Cool Edit Audio Processing Software. When the source is a CD, The music is
ripped using Exact Audio Copy software. 6-Head Hi-Fi VCR is used when the source is video tape. An Onkyo cassette
deck is used for cassette tapes and monster cables connect the sources to the Sound Blaster Audigy computer sound
card. This allows 24 bit A/D conversion. The system itself is a Dell Pentium IV running at 2.8GHz.
Disc 1
1.1 WNEW / WMMB DJ’s Introduction 1:22
1.2 Intro / Apocalypse 1:16
1.3 Siberian Khatru 9:15
1.4 Sound Chaser 11:03
1.5 I've Seen All Good People 7:18
1.6 Gates Of Delirium 22:18
Disc 2
2.1 Long Distance Runaround 2:17
2.2 Patrick Moraz Solo 4:14
2.3 Steve Howe Solo – Clap 3:39
2.4 Jon Anderson Solo – Exerpt From Olias 3:49
2.5 Heart Of The Sunrise 11:29
2.6 Ritual 25:47
2.7 DJ Chatter #1 1:28
2.8 Roundabout 8:36
2.9 DJ Chatter #2 1:28
2.10 I'm Down 3:29
2.11 DJ Outro 1:34
Warm up band: Pousette-Dart Band
Broadcast on WNEW radio Live
Jon Anderson –Vocals
Chris Squire –Bass
Steve Howe –Guitar
Alan White –Drums
Patrick Moraz –Keyboard
The 1976 Summer Tour began May 28, 1976 in Roanoke, Virginia. The Roosevelt stadium concert
was number 16 in a tour that would include 54 shows. The band members had recently finished solo
projects and had reconvened to begin their biggest American concert tour to date. At the time there
was still an enormous interest in the material from their most recent album Relayer. Gates of Delirium
and Soundchaser, both from that album, were played in Jersey City that night. From one that was there:
“We were there in 6 inches of mud in ‘76 at Roosevelt stadium in New Jersey for RELAYER”.
–Notes from the Edge
“Gates of Delirium is a war song, a battle scene, but it’s not to explain war or denounce it, really. It’s an
emotional description with the slight feeling at the end of ‘do we have to go through this forever?’ There’s
a prelude, a change, a victory tune, and peace at the end, with hope for the future….” –Jon Anderson
“Sound Chaser is like this madman from hell…an indescribable mixture of Patrick’s jazzy keyboards
and my weird sort of flamenco electric, which I’m sure has never been done before and will probably
never be done again!” –Steve Howe
Strangely enough, “To Be Over”, the last of the three songs from “Relayer” had been dropped from the
set list for reasons unknown, perhaps to allow the band to include a few more of the old stage favorites
like “Siberian Khatru” and “Heart of the Sunrise”.
“The concert was originally broadcast on WNEW from New York. According to former WNEW-FM DJ Richard Neer
in his book, 'FM', there was no mixing of the show being done by the radio station engineers; the feed going out
over the air was what the guy doing Yes' sound sent out. (This was because the manager of WNEW at the time
was too cheap to pay Neer and a sound engineer companion of his the few hundred bucks extra they would have
charged to do an on-the-fly broadcast mix). Hence the rather interesting variations in sound quality as the show
progressed.” –Forgotten Yesterdays.com
Another enthusiastic fan recalled: “It was 100 degrees that day. When we finally got to the stadium, there was
about a battalion of police off to one side. The line of fans was about 10 abreast and went around the stadium.
The police had bullhorns and were telling people "no glass inside the stadium". When we got inside, there was
a hot air balloon tethered over the stage, with the cover FROM TALES FROM TOPOGRAPHIC OCEANS on it!
The opening was the Poussette Dart band. Between the opening and Yes, there were fireworks. One of the
rocket stands fell over during launch and a rocket shot across the infield and blew up under a car! Finally, true
dark fell around 9:00 PM and Yes began to play. During the battle scenes in "Gates of Delirium", the laser
(electric green, dark blue) was shot into the audience in random, staccato bursts. Later, during "Soon", the laser
fanned out and spun over the audience, who craned up hands over their heads to touch the light. -Notes From The Edge.
It is with great pleasure that we now bring you this remaster of a legendary performance by a legendary band.
Enjoy this great 1976 moment with Yes.
http://www.filefactory.com/file/5y85jmzfwc1n/YES_1976-06-17%20-%20Roosevelt%20Stadium%20-%20Jersey%20City%20NJ.rar
YES - Uniondale, NY Nassau Coliseum - 06/16/1976
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1976-06-16
Uniondale, NY
Nassau Coliseum
**Low-circulation tape**
Lineage: master cassettes or first generation (best guess) -> audio CDs -
Solid tape from what is probably a portable machine with built-in mics.
Our tapers seem to know what to expect, since one of them announces "All Good People" before Jon. And someone mentions "tomorrow," so they were probably planning to see the band again while the tour is in the area.
No remastering or alteration of any kind was done to the source recording. Hope it brings back good memories for some of the 18,000 people who were there, the night before the big show at Roosevelt Stadium, Jersey City.
Enjoy... and sit down!
TheTooleMan
June, 2011
Forgotten Yesterdays says...
Date : Wednesday, June 16, 1976 (26 years, 11 months and 6 days ago)
City : Uniondale, New York, United States Of America
Venue : Nassau Veterans Memorial Coliseum
Capacity : 18,509
Lineup :
Jon Anderson (Vocals)
Steve Howe (Guitars)
Patrick Moraz (Keyboards)
Chris Squire (Bass)
Alan White (Drums)
Setlist/Tracklist
Disk 1:
Apocalypse
Siberian Khatru
Sound Chaser
I've Seen All Good People
Gates Of Delirium
Disk 2:
Long Distance Runaround
Moraz Solo
Clap
Harp Solo
Heart Of The Sunrise
Ritual
Roundabout
Starship Trooper (incomplete) http://www.filefactory.com/file/2qh5ql340d7h/YES_1976-06-16%20-%20Nassau%20Veterans%20Memorial%20Coliseum%20-%20Uniondale%20NY.rar
March 7, 2015
YES - John F. Kennedy Stadium - Philadelphia - 06/12/1976
02. Siberian Khatru
03. Sound Chaser
04. I've Seen All Good People
05. The Gates Of Delirium
06. Clap
07. Long Distance Tunaround
08. Keyboard Solo
09. Harp Solo
01. Heart Of The Sunrise
02. Ritual http://www.filefactory.com/file/45jqbrs764sb/YES%20%201976-06-12%20-%20JFK%20Stadium%20-%20Philadelphia%20PA.rar
YES - 1976 (Solo Album) Tour Jackson, Mississippi, - 06/05/1976
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Date : Saturday, June 05, 1976
City : Jackson, Mississippi, United States Of America
Venue : Mississippi Coliseum
Capacity : 10,000
Lineup : Jon Anderson (Vocals)
Steve Howe (Guitars)
Patrick Moraz (Keyboards)
Chris Squire (Bass)
Alan White (Drums)
Track List:
Disc One
01 Apocalypse
02 Siberian Khatru
03 Sound Chaser
04 I've Seen All Good People
05 Song Of Innocence
06 Hold Out Your Hand / You By My Side
07 Leaves Of Green
08 Clap
09 Long Distance Runaround
10 Moraz Solo
11 Harp Solo
Disc Two
01 Heart of The Sunrise
02 Gates Of Delirium
03 Roundabout
04 Sweet Dreams
http://www.filefactory.com/file/1vchwpu42phf/YES%20%201976-06-05%20-%20Mississippi%20Coliseum%20-%20Jackson%20MS.rar
TO ALL CONCERNED!!! ABOUT FILEPOST
Disabling the purchase of Premium access
Feb 10, 2015
Over the past 3 years we did not promote our site, almost completely refused advertising and were focusing on support of the existing users. We are pleased to note that most of the old members remained loyal to us and continued to use our service to store and share their files with friends and colleagues. All this time we made many efforts for ensuring safe existence of our site, first of all in regard to pro-active verification of the uploaded files. Our filters caught the majority of attempts of uploading and distribution of undesirable content. And our support reacted to any addresses from the file owners in the 24/7 mode.
But at the same time risks and pressure put upon the market of file hosting services grew. Over the last 3 years many file hosting services have been forced to close due to insufficient measures taken to control the upload of the files, and / or if the inquiries of the file owners were insufficiently quickly processed. At the same time we received the influx of customers who have tried to move to us their questionable files for distribution. And we were forced to fight them with great effort.
Today we are compelled to recognize that within the current model of our site and the current situation it is difficult for us to exclude completely the possibility of uploading and distribution of illegal content through our site. Our small support team can't cope with it. In this regard, and also in connection with the increased pressure from the payment systems, we made a tough decision to freeze even more this project, having stopped accepting of new payments.
However, we are committed to fulfill all obligations to existing users and keep their personal files in complete safety and accessibility to the expiration of their premium memberships. Please note that this situation won't affect free accounts in any way. Also we would like to note that our support team is ready to assist you with any questions as before.
Having taken this break we will try to find resources for evolution of our service in a new, conforming to the modern requirements project for storage of personal files. Though we realize that it is not a simple task, and to us is difficult to make any promises on terms.
We thank all the customers who have chosen our service and regret that it’s not possible for us to continue our work as before.
With best regards,
FilePost.com Team
PHIL LESH & Friends - The Grate Room Terrapin Crossroads San Rafael, CA - 03/01/2015
Original performance: 12-14-71 @ Hill Auditorium, University of Michigan, Ann Arbor, MI. Sunday, March 1st, 2015
Phil Lesh & Friends Celebrate The Grateful Dead 1971
Phil Lesh, Stu Allen, Scott Metzger, Jason Crosby, & Jay Lane
Doors 6pm / Show 7pm
Tickets $79 + service fee / 16+
This Show is SOLD OUT!
Phil Lesh & Friends
Sun. Mar. 1, 2015
The Grate Room
Terrapin Crossroads
San Rafael, CA
Phil Lesh - bass, vocals
Stu Allen - guitar, vocals
Scott Metzger - guitar, vocals
Jason Crosby - keyboards
Jay Lane - drums
* w/Ross James - guitar, harmonica, & vocals
7:10pm - 7:20pm Phil chat on 1971 w/Jay Blakesberg
Set 1 7:25pm - 9:15pm
Truckin' sm
Sugaree sa
Mr. Charlie * rj
Beat It On Down The Line sm
Loser sa
Jack Straw sm sa
Next Time You See Me * rj
Tennessee Jed sa
El Paso sm
Big Railroad Blues sa
Me & My Uncle sm
Run Run Rudolph * rj
Black Peter sa
Playing In The Band sm
Casey Jones sa
Set 2 10:05pm - 11:15pm
Ramble on Rose sa
Mexicali Blues sm
Big Boss Man * rj
Cryptical Envelopment sa >
Drums >
The Other One sm >
Wharf Rat sa >
Sugar Magnolia sm
You Win Again sa
Not Fade Away all >
Going Down The Road Feeling Bad all >
Not Fade Away all
band intros
donor rap
Lesh's ensemble utilized the same setlist the Grateful Dead used at Hill Auditorium in Ann Arbor, Michigan on December 14, 1971. The quintet rolled through each and every song the Dead played that night including the Christmas classic "Run Run Rudolph," which was sung by special guest Ross James. James also led the group through "Mr. Charlie," "Big Boss Man" and "Next Time You See Me." Allen handled most of the Garcia vocals throughout the evening, while Metzger sang a number of Weir tunes.
http://www.filefactory.com/file/5qrnlkds2por/paf2015-03-01mp3.zip
GOV'T MULE - Brooklyn Bowl, Las Vegas, NV - 02/22/2015
Gov't Mule
February 22, 2015 Brooklyn Bowl, Las Vegas, NV
SET ONE
Thorazine Shuffle with Hottentot Tease
Stoop So Low (Outro 3)
Don't Step On The Grass, Sam
Child Of The Earth
Tom Thumb with John Scofield
Wabash with John Scofield
Trouble Every Day with John Scofield
SET TWO
Scared To Live
Temporary Saint
Devil Likes It Slow > with John Scofield
Flip Wilson > with John Scofield
Devil Likes It Slow with John Scofield
Hottentot > with John Scofield
Soulshine with John Scofield
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Going Out West with John Scofield
http://www.filefactory.com/file/10ovd8s3xzih/Gov%27t%20Mule%20-%202015-02-22%20Las%20Vegas%2C%20NV%20%282015%29.rar
March 6, 2015
YES - Wolverhampton, UK October 11, 1971
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Wolverhampton, UK
October 11, 1971
This is my third attempt to produce a good-quality version of the Wolverhampton show, and my most successful. I obtained a higher-quality, lower-generation stereo copy of the show from Steve "Relayerman" Wehner. Most of the stereo content of the show is preserved here, but on a few tracks - Perpetual Change and Yours Is No Disgrace, to be exact - the left channel was so damaged and muddy that I went with the right channel and Sound Forge's Acoustic Mirror audio processor, to give a stereo feel that works with the rest of the recording.
The copy of the recording is the first I have found with the tracks in what I believe is the correct order. Most have the Wakeman solo and Long Distance Runaround/The Fish transposed. This was probably done by a dubious bootlegger to make the recording fit a 90-minute cassette better than the original order; as a result, this has become the defacto sequence of the set. Note the on-stage bantering and guitar riff played by Howe which leads directly into Anderson's introduction of Perpetual Change. This is all one sequence in the set between the two pieces. I discovered this mis-ordering when working on the 30th anniversary remaster of this show in late 2001, and set the tracks in the correct order on that release. The "7 From 71" version of the show was taken from another cassette and was missing some of the banter between the boys, and I did not change the sequence on that version.
There is no way to know how many more remasters there will be of this important and complete show, or whether this one will be my last attempt, but hopefully each will be better than the last.
Tracks:
Disc One:
Firebird Suite
Roundabout
I've Seen All Good People
Mood for a Day
Clap
Heart of the Sunrise
Long Distance Runaround
The Fish
Disc Two:
Rick Wakeman
Perpetual Change
Yours Is No Disgrace http://www.filefactory.com/file/4rqr72ocplub/yes1971-10-11.rar
YES - IT'S LOVE New York City, New York, United States Of America Gaelic Park - 07/23/1971
New York City, New York, United States Of America
Gaelic Park
Lineup :
Jon Anderson (Vocals)
Bill Bruford (Drums)
Steve Howe (Guitars)
Tony Kaye (Keyboards)
Chris Squire (Bass)
Setlist :
Introduction / Yours Is No Disgrace
I've Seen All Good People
Clap / Classical Gas
Perpetual Change
It's Love
I got my version of this show in a trade in the late 70's on cassette tape. It was improperly labeled as 7-21-71 and at the time there wasn't any tour schedule available to verify. When I attended the first Yes convention in Cherry Hill, NJ in 1985 I gave my trade list to DJ Ed Sciaky. Being the Yes fan that he was he corrected the date for me and proceeded to tell me a few anecdotes about the band and his first meeting with them on that tour.
I don't know the lineage or generation of my version, but the quality is as good or better than the Highland version. I classify this version as an upgrade for a couple of reasons. One, it is speed-corrected and runs about two and half minutes longer. The last song is from the same source whereas the Highland version has been processed with reverb and some sound widening (why, I don't know). My version appears to be the most complete albeit if only a few seconds more of crowd or in-between song chatter.
http://www.filefactory.com/file/3g1fiekwbhc7/yes1971-07-23.rar
DOPAPOD - Mercy Lounge- Nashville- TN - 2015-02-28
DOPAPOD - Madison Theater- Covington- KY - 2015-02-27
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