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Music List for Daniel
Last Update: Apr 21, 2026
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Abyssinians --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/10/98 SOBs Rastafari elder Ras Pidow the Modern Antique opened. The speakers at SOB's were fried after years of high volume entertainment and crackle a bit during the louder passages. The original split was between Declaration of Rights and Peculiar number. It is now seamless. The Abyssinians set will fit on one disc without the Glen Washington introduction. Thanks to Jah C for his master Transfer and editing by Dave O. December 7th, 2008
02/04/99 Higher Ground
10/15/00 Kat Man Du ~ Sourced from the Teddy Ballgame Archive ~ opening set for Israel Vibrations ~ Very special thanks to Ted Mattes

Ace of Cups --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
10/08/67 Dr. Sunday' s Medicine Show, Family Park
10/10/69 PNE Agrodome 24/96khz FLAC 1 John also taped Jefferson Airplane and his recording is the only one to surface for this show. It forms Volume 4 of Ahuka's Choice. - John was not planning to record the Ace of Cups, but was enjoying their set and turned on the recorder mid-set, hence the microphone noises on the beginning of Thelina.

Adrian Belew --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/08/86 The Catalyst

Aerosmith --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/20/73 Paul's Mall 24-but/96k flac

Al Di Meola --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/23/77 Paul's Mall first seeded in 2008, reseeded in 2010 with a flac > wav > flac (sb's aligned) reconversion to remove the sbe's (and track times). A couple of songs cut in at the beginning and are missing a couple of seconds, but it's close to a complete recording. Do not sell this recording. Trade freely, losslessly, and gaplessly. Comments: This is 1 full night, 1 of 3 with this group for this run at Paul's Mall just when Al has released his eventual 1977 Downbeat Reader's Poll choice for Album of the Year, "Elegant Gypsy". (also a huge hit for Guitar Player magazine readers). These sets both include a very hefty dose of that, pretty similar setlist for each show (seperate admissions). It was recorded on one of the little Sony recorders, in stereo, not alot of seperation but it's up close and personal, you can hear all instruments well and the versions are nicely extended and jammed. I met Al at one of these shows, he actually let me record his show but the Paul's Mall staff said I couldn't. I got this tape in trade a few years later which is probably better than what I would have had so all worked out good there. I have heard rumors of a 1976 Al DiMeola FM broadcast from Boston, (over WCOZ radio) of his 1st solo tour (Land of the Midnight Sun) after R.T.F. but never heard it. This is his second solo tour, but the one that made Al DiMeola famous as a solo artist. There is a Toronto FM broadcast of this great tour but I have not heard about one from Boston during this run of shows (WBCN would broadcast a set from either Paul's Mall or Jazz Workshop, usually every Thursday I think, in the early 70's, maybe it varied some..). I think this is the night I saw, I know on 4/22 I couldn't because Weather Report was playing down the street at the Berklee P.C. I think any fan of Al would be happy to hear this couple of sets. Don't know if Stu Goldberg was in this whole tour but he is in all of both these shows. In the second show, they sound like they're going into Midnight Tango (for a second time in the show, just 1 reason I don't generally like 2 show gigs, when the band only knows one set's worth of songs, but this one was a goodie.) but then go into the Dark Eye Tango, which wasn't recorded yet. Al's got so many tangos it's no wonder even he can confuse them sometimes. It's almost 2 full CD's of some fine playing by Al just when he was hitting his peak (if like I you prefer your Al D. electric!) There is some acoustic playing here too but the highlights are (for me), the Wizard, Race with the Devil and Elegant Gypsy suite. The Flight over Rio encore will get the blood flowing pretty good too. Thanks to Peter P for the recording. He did a nice job of it. This recording has seen some circulation on tape, maybe with tracks out of order.
05/21/77 Winterland Arena Known Faults: -None This recording is from the same circulating source but originates from our anonymous West Coast taper/collector’s archives. It may be sourced from his master tape, though that remains unconfirmed. He was actively taping in 1977, and the sound quality certainly reflects his signature work—but for now, we can’t definitively attribute it to him. The bot archives didn’t return Weather Report’s headlining set, so its circulation status is unclear to me. If our collector captured Al’s set, it’s highly likely he also recorded Weather Report which has not appeared in his archives though we do think some of this transfers to CDR may have been stolen prior to coming into our possession. The show has previously circulated via a low-generation Mr. Mags upload and a glasnostrd19 reseed. We figured it was a good time to take a brief Santana breather and roll out a refreshed edition. We gave it the full treatment: de-clicking, removal of extraneous audience noise, pitch correction, channel alignment, and a tasteful new remaster that brings out a rich, full-bodied sound...samples provided so you can assess if you want to download or not. As for the performance—Al is absolutely on fire. His fingers are flying from start to finish, delivering a blistering set. We owe a debt of gratitude to the anonymous West Coast collector (may he rest in peace) and his motivated friend, who recognized the importance of preserving these historically significant shows before they were lost forever. A special thanks also goes to dime member ìdavmar77î for facilitating the connection, and to Goody, our pitch master, for his unwavering support of all our historic releases. We also would like to thank "https://www.santanamigos.com/" for a great website that is a wealth of research information. Collectors, don't wait until it's too late. Together, we can ensure these invaluable archives reach all who will appreciate their magic, myself and others are here to assist...no tape left behind!
01/23/82 The Warfield Originally shared by mr_mags on 2007-08-14 mr_mags Notes: I left most of the tuning/"dead air" for that true concert-like experience : ) I attended this particular show. Two memories stand out: Walking into the lobby as Jan shook the venue with the opening ominous notes of "Darkness" during his opening set. Also, I remember AJ sitting in his chair just destroying the contrabass. I'm glad I broke out this disc to track & then share because it smokes even more than I remember! Additional Notes: The original audio was overamplified and clipped, particularly on the left channel. I lowered the levels and balanced the channels as follows: Tracks 1-6: Left: -5 dB, Right: -4.1 dB Tracks 7-10: Left: -3.08 dB, Right 0 dB The necessary change in the level adjustment occurs after a cut in the recording. There are a few more cuts in the recording, but the levels seemed to change significantly only after the cut following track 6. The speed of the recording is good. No need for adjustment. To fix the clipping, I first applied a clip fix operation at a threshold of 93% on every section except for Tracks 7-10 on the right channel - there's no clipping there because the levels were lower for some reason. I wasn't really satisfied with the results of the clip fix so I then went through the audio and manually spot repaired hundreds of peaks. Due to the very high number of distorted peaks, I'm certain that I missed some that could be repaired but I'm quite pleased with how it turned out. I did this work in Audacity and exported the results as FLAC files cut at the same points as the original audio. I created an updated checksum with TLH. -ledwhofloyd (Ross), Jan. 2022

Alan Vega --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/13/79 Mudd Club

Alice Coltrane --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/18/06 Royce Hall, UCLA

Allman Brothers Band --- Approximate Hours: 2.5
Show Date Venue Media Type Media Count Sound Quality Notes
01/24/70 Whiskey A-Go-Go
01/23/71 Capitol Theatre FLAC 1 A-
03/20/71 The Warehouse Comments: - I don't think all of this is soundboard, there seems to be a lot of audience in places. * Notes: - Some tracks were out of order, presumably to fit them on two dats. Now in correct order and some crossfades put in. - "Whipping Post" had a repeated section of about 18:12 which has been removed. - A number of small dropouts have been repaired. - Some hiss reduction applied, I also removed some backgroiund noise.. - Pitch corrected.
07/26/74 Boston Garden FLAC 24/96khz 1

Alpha Blondy --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/09/98 Woodbury Ski Area

Alton Ellis --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
09/01/07 Bornasco Reggae Festival 1
10/20/07 Le Chapiteau "Notes : Mr Rocksteady was the 2nd mainline artist that night. He came on stage at 19:30. Aspo is a french group. What was different is that they did not have a bassman, but a "contrebass", which brings a touch of jazz. The music was good. Alton introduced his son, Christopher Ellis, to sing along with him. He stayed the rest of the show. The sound is good." -- Semayat

Alvin Lee --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/06/76 Exhibition Grounds INFO ON THE TOUR AND SHOW: Alvin had dissolved his first solo outfit Alvin Lee & CO. for TYA's massive mid-1975 farewell US tour and then formed his first (of many to follow) Alvin Lee Band in late 1975/early 1976 for furthering his solo career. This four-piece band (with the same instrumentation as TYA!) recorded an album which was to be titled "Saguitar" (a coinage of Alvins zodiacal sign Sagittarius and his instrument) which was scheduled for release in late May 1976. The band did one 10-date theatres and universities UK tour from late April to May 1976 to back their forthcoming release. Their 23 May 1976 London Chalk Farm Roundhouse show got much press coverage, but mainly due to Jeff Beck's surprise support appearance with Jan Hammer, his first UK show since BBA's breakup in early 1974. A tape of Jeff's & Jan's 30 min. show is in circulation, BTW. Alvin's band then did one last UK show on 31 May 1976, headlining a charity open air festival for the benefit of the Sound End Charity Commitee and were obviously booked as a surprise late addition for one last and only show abroad, the "Sunrise Festival" in Offenburg, West Germany (an extremely hot and sunny affair, that fest - and that entire summmer). Given that Alvin was not announced, we Alvinatix may consider ourselves extra-lucky that one fan had his equipment ready to record their set, if only partially and in ...well, "oper air quality" - and all the more since that tape never got into circulation and I only received it in 2008 after much gentle ...er, "pestering" from a (Hungarian, IIRC) collector. Seems Alvin dissolved this band straight afterwards and once said when Punk broke loose during that year he wouldn't touch his guitar for an entire year. Sounds likely as there are no known live acitivities by him up until April/May 1977 (see below). INFO ON THE LOST "SAGUITAR" ALBUM: Although there is a poster ad for "Saguitar" and even t-shirts with an emblazoned "Saguitar" lettering and logo were sold from the merch stands along the UK tour (see back cover artwork), and a promo single with two tracks off the album was produced (the two bonus tracks in this torrent), the album was never released. Asked what happened, Alvin stated in an interview he himself had to pull the plug on the album at the 11th hour because one of his co-musicians' manager obviously got "too greedy". That surely p*ssed off his record company Chrysalis, and Alvin's contract expired in 1977. As an Alvinionado, that lost album has of course driven me NUTS - and the recordings ever leaked out of Alvin's Space Studios. Now, what's rather interesting and revealing about this show is to see that the band played not less than FOUR songs that would appear in 1978 on Ten Years Later's first album "Rocket Fuel"! Also, the promo single's B-side track "It's a Gas" was re-recorded by TYL in 1979 for their second album "Ride on" (as "It's a Gaz"). Therefore, I'd say it is pretty safe to assume that these were already part of that lost "Saguitar" album, right? When I met Alvin before a show in September 1985 and asked him what became of "Saguitar" he replied that that was "Let It Rock", Chrysalis' 1978 archival release to cash in in Alvin's renewed popularity with TYL. However, is seems that album only contained studio leftovers and numbers Alvin didn't take along for release with TYL - hence it's lameness (IMHO). When Alvin decided to touch his axe again and TYA reformed briefly for album sessions in April/May 1977 (with one David Potts replacing Ric Lee), some of these numbers were tried again; however, acc. to Alvin that album "was not good and it wasn't TYA anyway", so the band band dissolved and an already scheduled US tour supporting Peter Frampton was cancelled. Alvin would then quickly form his new outfit TYL, and luckily, a tape of their first session from June 2, 1977 exists and reveals that FRIDAY THE 13TH, AIN’T NOTHIN’ SHAKIN’ and THE DEVIL’S SCREAMING were already played there! Alvin's new record company Polydor encouraged him to go for a harder-edged sound, maybe to go along the then burgeoning New Wave of British Heavy Metal, and that may be why he chose the trio format for the first time in his career. TYL would eventually release their excellent debut album in spring 1978. So, it took these "lost" numbers not less than three recording attempts and two years to finally see the light of day! I'd still realy like to hear the entire lost album before I pass the Pearly Gates... :-) Please do NOT sell this show or spread it in lossy formats - otherwise: trade, share, collect – and enjoy! Always looking forward to your comments and possibly even further info... Uploaded to Dimeadozen on 12 February 2020 by DocDondy for all fellow-Dimers to enjoy. Alvin ahoy! Th:)mas

AMM --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/30/94 Noe Valley Ministry

Andrew Tosh --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/29/88 Chestnut Cabaret
09/15/88 The Palace FLAC 16/44.1khz 0
10/21/88 Capitol Theatre
08/30/89 The Grand Emporium SHN

Andrew White --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/23/75 Town Hall

Anita Baker --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/22/90 Greek Theatre

Anthony Braxton --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/13/76 Columbia University, Wollman Auditorium notes from carville: even though we don't have the definitive date, this is most likely as it's the only time AB is confirmed to have played this venue. orchiddoctor is sure of the venue. The first 10 minutes are a duo of AB and Holland. Then the drums come in for 10 minutes of trio. The rest is the full quartet. Any help on corrections is more than welcome.

Apple Gabriel --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/11/99 Top of the World

Aretha Franklin --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/26/82 Bob Marley Memorial Performing Centre

Art Ensemble of Chicago --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/13/85 The Pavilion at Ravinia

Augustus Pablo --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/18/88 Santa Cruz Civic Auditorium
??/??/89 XMas Party "here is the complete (or at least a more complete) seed of Augustus Pablo's show in Muenchen in December, 1989 I got my tape as a copy from the original taper so lineage would be: tape (1st gen. copy) -> CDR -> EAC -> FLAC the songs are spread over two tapes so you will obviously hear some fades and editing the quality would have to be rated as a fair to decent audience recording"
11/23/91 The Music Machine 2018 transfer via John Dubois (2018-04-25): O.K. this is my master recording and the real roots, rock, reggae fans will love this one. Live Augustus Pablo shows probably number around 5 or so. This was a wicked show and there is a strange story behind the device used to record the show. As some could say "Steven Speilburg" recorded Augustus Pablo" well in a round about way. My wife was friends with his daughter and she left his deck in my car. Sound is great and I'm glad I had it.

B.B. King --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/17/70 Memorial Stadium @ Indiana University
05/30/71 Paramount Theatre Notes: Here is an excellent sounding and complete FM broadcast of B.B. King at the Paramount Theatre courtesy of taperpat. The recording was done by his friend Dick who recorded this off of KISW-FM using a Sony R-2-R deck when it was originally broadcast sometime in 1972. This is really hot performance by B.B. King and especially his backing band. The backing band's rendition of Fa-Fa-Fa-Fa-Fa (Sad Song) by Otis Redding almost steals the show before B.B. can even get on stage.
12/23/72 HIC Arena JEMS is proud to be able to partner with and present some of the choice recordings in the D & D archives. Some of these recordings have been around for years but none of the master tapes or safety copies in some cases have ever been digitized until now. Dave and Donn taped many shows in and around the Seattle area in the 70's and also were contemporaries of some of the JEMS members. Volume 8 captures B.B. King taped by Donn in Honolulu. This recording is excellent sounding and could easily be mistaken for a soundboard. Like usual B.B. puts on one hell of a show not to be missed by blues fans and fans of guitar playing in general.
04/18/80 Riverboat President 24-bit/48k The recording is from the Tommy Stevenson collection. Special thanks to his son, Thomas, for locating the surviving masters and loaning them out for transfer. Transferred by Richard Russell, March 2026. It's not known if this is the early or late show. Earl King opened. Presumably his set and the beginning of B.B. King's are on the tape labeled #1 (of 1980), but as of March 2026 that master has not been found and likely no longer exists. The remainder of this tape was recordings of performances by L'il Queenie and by Clyde Kerr Jr. the next day at Jazzfest. This cassette, like all of the (cheap) Scotch Dynarange tapes that Stevenson unfortunately used circa 1979-80, had significantly deteriorated. The tape shell had to be physically broken apart to extract the tape to be moved to a replacement shell. While the tape itself showed no signs of sticky-shed syndrome, it was visibly in bad shape. Sound quality suffers somewhat as a result.

The Band --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
05/09/69 Fillmore East 12-THE NIGHT THEY DROVE OLD DIXIE DOWN ( SPEED PROBLEMS ) 13-SLIPPIN' & SLIDIN" ( DROP OUTS DUE TO TAPE DEGRADATION )
08/31/69 Woodside Bay Source/Taper #2 ("The Man In The Palace") (M1-AUD) DIFFERENT taper than previously DIMED master tape & DAVMAR version (Source #1). LONGER with start of "We Can Talk" (missing on Source #1) & more stage announcements ------------------------------ oolSonics 224 ::: Thanks to the original taper & trader, The Man In The Palace! Long may his empire stand. ::: Corrections welcome ::: This is vintage of The Band that turned me on. One of my first 2 commercial cassettes, given to me by my parents with my first cassette deck, was the 2nd album by The Band. To say I wore it out is an understatement. It was like breathing everyday - completely essential. I don't know that this recording will be any kind of revelation for anyone, but it seems to be much less common than Source #1 & very likely upgrades the copies that do circulate from this source. Enjoy!
06/03/71 Royal Albert Hall THE WEIGHT (CUT IN) W.S. WALCOTT MEDICINE SHOW (CUT IN) LOVING YOU (SOME TAPE DETERIORATION)
06/30/71 Central Park
08/21/71 Borough Of York
07/31/73 Roosevelt Stadium 24/96khz FLAC 1
08/31/74 Cleveland Municipal Stadium I am very excited to kick off a new mini series of historic master recordings from dime member swittich. Swittich taped 13 shows in 1973-1974 in the Kentucky, Ohio and West Virginia area, four have been previously released from straight transfers and the balance are uncirculated. In the past collectors offering to transfer shows wanted to pick and choose specific shows, of course we will be releasing every show...no tape left behind. Volume 2 in our series has been previously released but this time out there are a number of firsts. The first azimuth adjusted transfer directly from Scott's master tape. New 2024 pitch correction, it was way off, and mastering (since 2008?), and most exciting it appears this is the first time the complete show is available. According to the bot archives when this was originally released it did not include the encore of "Don't Do It". It certainly could have been included previously and not listed but it appears the first transfer of this tape may have missed the encore on the B side, either way...here it is. A unique aspect of the show is the absence of Richard Manuel due to illness. Quality is excellent for the era and recording gear, swittich found a nice spot close to the stage with minimal audience noise. We've included a couple of photos Scott took of the Band on stage and of the massive crowd in the cover artwork. We've also included a bunch of newspaper clippings about the show, the audience, a review of the show, and letters to the editor about how the included review of the show was completely wrong about the show. A note about the stadium name, Cleveland Stadium, commonly known as Municipal Stadium, Lakefront Stadium, or Cleveland Municipal Stadium. When this show was shared previously it was shared as Cleveland Municipal Stadium. For this posting, we are going with the original stadium name, Cleveland Stadium, and the way it was advertised in the newspaper at the time. Thanks to swittich for reaching out for assistance in getting these historic shows out, the tapes have been safely stored and so far so good on the transfers. On the honor roll for this release is Goody, our resident pitch master, this one sure needed his help. Artwork is included. mjk5510
11/25/76 Winterland Ballroom Goody's Speed/Pitch-adjusted Audio Upgrade
11/25/76 Winterland Ballroom Audio Sources: Various Soundboards 1) The Band - The Last Waltz (1976) {remastered 4 CD Box Set 2008} - songs were cut and order was completely mixed up but best sounding source and used when I could 2) The Band - Complete Last Waltz - Factory Pressed SBD Discs - not sure what factory pressed these as the are not only mono but very similar to the audio that came with the video downloaded from Wolfgang's Vault 3) Audio from Wolfgang's Vault video - also mono but complete Note: when the "remastered" audio was not available - I combined the last two sources by making the left channel from complete series and the right channel from Wolfgang's Vault. There was enough difference between the 2 recordings that it gives an almost stereo effect. This was used for Georgia On My Mind, King Harvest (Has Surely Come), Last Waltz/Evangeline and Instrumental Jam #1 as these songs were not included in the remastered disks. (Jam #1 was so cut up on remastered that it was unusable.) Note: There was no rhyme or reason why either the official video or remastered audio was cut to ribbons. One example is Hazel, where not only were there cuts in the soundboard, the vocals were moved from one part of the song to another. Another is during I Shall Be Released where a 30 guitar solo by Eric Clapton is cut out. As this sbd was created for the video, I tried my best to piece the various sources together. If you know me, for me to work on something this huge without Jerry ... it must be worth it."

Barrington Levy --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/16/12 The New Parish

The Beach Boys --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/26/82 Bob Marley Memorial Performing Centre

The Beatles --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/02/64 Philadelphia Convention Hall
09/03/64 Indiana State Fair Coliseum 24/96 flac

Beck, Bogert & Appice --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/08/72 Jahrhunderthalle Original 2013 notes: Contrast Clause: Previously a version of this show was offered at: http://www.dimeadozen.org/torrents-details.php?id=319891 That version is from a known "2nd Gen" source, & is from a different/alternate source (Different Taper, & Different Recording Equipment). The version being offered here is from a Liberated Bootleg "Let Me Love You", Oh Boy label. Not A Contrast Clause: Previously a version of this show was offered at: http://www.dimeadozen.org/torrents-details.php?id=288195 (no longer active on tracker) That version is from a known "Master" source, & is from a different/alternate source (Different Taper, & Different Recording Equipment). That version is also claimed to be a 3rd (different/alternate) Source. This is not a RESEED, but is a newly prepared 2013 offer. I'm always looking for uncirculated, alternate versions, upgrades, etc., of anything Jeff Beck. If you have any of those & can not share, please get them to someone who can do so - THX!!! Enjoy!!! Support the artists. Purchase releases, etc. Keep this lossless; do not convert to lossy (mp3, etc.) for further distribution please and thanks... Prepared by Jeffrey James (roryglzep@aol.com) New covers by ethiessen1 (Thanks!) Remastered, Reconstructed and Updated by Goody - February 2023

Beres Hammond --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/02/98 Reggae On The River
10/13/99 The Roxy Theater

Big Brother & The Holding Company --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
12/31/67 Winterland FLAC 16/44.1khz 1 From grner1: This set seems to be a rarity - much less circulated than the Airplane, Big Brother or QMS sets from this show. It's a decent sounding audience recording from my 2nd gen. reel. I think that this is the best copy that you will find of this, though I would love to be proven wrong. I got this recording from David Cooks (early tape archivist for John Cipollina), who attended the show and noted the following details during the performance. It's easy to hear the guitars and lead vocalists as listed, but the background vocals are not as easy to differentiate. So don't expect Janis or Grace to be very obvious in the mix. The jams are fairly tight despite being rather extended.

Big Mama Thornton --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/21/73 Joe's Place A very nice recording of Big Mama Thornton and the Big Mama Thornton Blues Band. Part of a week-long music festival of some sort. Dick Waterman introduced the band. Waterman was deeply involved in the mid-1960's blues "revival" centered in Cambridge, Mass., and was a photographer and promoter of blues musicians. Peter Malick was the guitarist for the James Montgomery Band, playing as a guest. The WBCN announcers were Max(anne Sartori?) and Bob. The recording is solid but suffered from a lot of FM crackle. Most of it has been eliminated using the Izotope de-crackle plugin. In the dead air between songs, you may still hear a little bit, and in other, quieter passages. A couple of larger pops were removed or minimized as well, but you will still find some warts. Enjoy! --mhg :: 2020-10-10

Big Youth --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
12/01/82 The Roxy This FM source was broadcasted on April 6th, 1983 as part of Kwaku Lynn's Spirit Flight on KPFA-FM; Big Youth performed at the Roxy on December 10th & 11th, but I don't know which one of the two dates this source is from.
09/14/90 Music Machine FLAC 16/44.1khz 1

Bill Graham Tribute Concert --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/29/84 Marin County Veterans Auditorium

Black Uhuru --- Approximate Hours: 2.5
Show Date Venue Media Type Media Count Sound Quality Notes
10/13/81 The Ritz (early show) via Matlin: "Another one from my vault of lo-fi masterpieces, here is the mighty Black Uhuru in their glory days, recorded from the front row of the old Ritz on 11th Street in New York City. This was the early show. This recording has never been circulated before. Behold, among other delights, the sweet vocals of the late Puma Jones and powerful groove provided by the unequalled riddim twins, Sly and Robbie. If you are interested in seeing what this band looked like, they appeared on German TV four days after this show on the Rockpalast program. Video of that gig occasionally pops up on torrent sites. Dedicated to James Cohen, who was in the front row with me that evening, and the late Sandra "Puma" Jones."
10/13/81 The Ritz (early show)
10/13/81 The Ritz (early show)
10/13/81 The Ritz (late show) --- Broadcasted live on WBAI-FM at Midnight on Wednesday, October 14th, 1981 --- The audio was running fast and was speed corrected (-.90 semitones) --- 4:44 to 4:56 of World Is Africa was missing and was patched with an alternative FM source (FM > Cassette Master / not the original WBAI-FM broadcast) which was also speed corrected (-.51 semitones) --- Thanks to Mark Persic for recording the patch source --- Thanks to Jack Warner for the main source used for this remaster --- Special Thanks to Black Uhuru & The Taxi All-Stars for existing
10/17/81 Grugahalle Tape from a 70s 80s radio DJ
10/17/81 Grugahalle
08/07/82 Santa Barbara County Bowl Only 2 Songs: Darkness Sinsemilla
08/13/82 Santa Cruz Civic Auditorium
08/14/82 University of Southern California FLAC 16/44.1khz 1
11/26/82 Bob Marley Memorial Performing Centre Notes: -- Thanks to Frank Streeter for lending me his masters -- I did the best I could with the tracking but it's probably off a bit -- I edited out the introduction to fit the set onto one disc
08/15/84 Pacific Amphitheatre FLAC 16/44.1khz 1 JEMS' latest series presents new transfers of master recordings made by SoCal-based taper Rick L who was active in the early '80s. While he was a fan of bands like Yes and taped them on more than one occasion, his tastes were eclectic and of-the-moment, ranging from new wave artists featured on KROQ-FM to reggae and jazz acts. So while he didn't have Millard-caliber equipment, he did cover many shows not recorded by Millard or others who leaned towards the classic rock end of the spectrum. We'll be presenting the best of his work and his collection over the course of this year. Vol. Four delivers on the promise of Rick's more eclectic fare as we present reggae greats Black Uhuru performing at the Pac Amp in Costa Mesa. This was the band's second proper tour of the US, and the set list leans heavily on the album Guess Who's Coming To Dinner, a 1983 re-release of 1979's Showcase with the addition of "Shine Eye Gal." This show features the core Black Uhuru line-up of Michael Rose, Puma Jones and Derrick Simpson, backed by the legendary rhythm section of Robbie Shakespeare on bass and Sly Dunbar on drums. Guitarist Darryl Thompson, keyboard player Franklin "Bubbler" Waul and percussionist Chris "Sky Juice" Burth complete the line-up. Rick's taping location was prime as he gets up close sound. While the stereo image shifts a little, this is a very nice recording and a satisfying listen. Samples provided. We want to thank Rick for lending us his tapes and allowing us to share his work with the DIME audience. Please let him know your appreciation via comments. Also supporting the series are JEMS' frequent collaborators Professor Goody, who prescribed proper pitch adjustments, and mjk5510 who took care of post production. BK for JEMS
08/31/84 Aragon Ballroom
09/07/84 Pier 84
09/09/84 Hynes Auditorium
11/03/86 The Channel t11 had a tape flip/ splice @ 7:41. show is 86 minutes.
02/19/90 First Avenue 16/48 FLAC
05/11/94 Lupo's
09/07/00 The Roxy

Blind Faith --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/07/69 Hyde Park
07/12/69 Madison Square Garden 16/44.1 flac you can't put a price on something like this such a great band and such a marginal sounding recording but it probably wasn't the taper's fault. alot of crowd noise and unruly fans at this show can be heard talking in the recording. sound quality is not the greatest either. but it appears to be possibly the whole show, or at least close to it. and it sounds a little better now. no EQ or NR was applied.

Bob Andy --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/05/09 Hall nord de la Villette

Bob Dylan --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/16/62 Gerdes Folk City
07/25/65 Newport Folk Festival Originally planned on sharing this show from the Italian "Bob Dylan 1965 Revisited" box set. Then "Folk Rogue" was posted and the 3 stereo tracks from this silver disc were a great improvement over that older tape copy. There was a very noticable speed variation between these two sources and that required investigation. This was put to the side until the correct speed could be determined. The silver CD included material from 2 different years at Newport and a few other concerts as filler. But this project was to be the 1965 performance. Tracks were reassembled from the "Folk Rogue" source and were running fast with plenty of clicks and pops. Using the time stretch function in Adobe Audition 3.0 this was Slowed down by 1.5% (98.5) and now lines up with a reliable video of the performance. Volumes were adjusted to blend the 2 sources better while many clicks and pops were repaired on the 3 stereo tracks. The LP source was missing the introduction, the encores and some tuning found on the tape recording. Introduction and encores were taken from the mono tape to complete the "Folk Rogue" CD. Most of the between song tuning was not patched in from the mono tape as it created abrupt changes and spoiled the flow. Three seconds of pre-song guitar strumming was inserted in front of "Maggies Farm" and that was taken from the 1965 Revisited box set. So here is something started in April of last year and finally completed. Support Bob and purchase his official releases and see him in concert. Let's hope this complete show including the between song banter makes it out one day on Bob's own "bootleg" series Until someone gets a better version... For historical reference only and not intended for resale or any commercial use. enjoy -M- (December 2014) FLYING M PRODUCTIONS
09/03/65 Hollywood Bowl
09/03/65 Hollywood Bowl Here’s a tasty slice of prime Dylan at a crucial twofold juncture in his career. We get two fantastic sets: one as the solo neo-folk performer, and one as the snarling proto-punk fronting an electric band. The band consisted of Robbie Robertson on lead guitar, Al Kooper on organ, Harvey Brooks on bass, Levon Helm on drums, and Dylan on rhythm guitar and piano. This was the first show of the electric tour, immediately following the controversial Newport Folk Festival appearance—and just four days after Highway 61 Revisited came out. This recording was officially released as part of the 1965 copyright extension compilation, but in truly dreadful quality—lifted from whatever bootleg source they could find. This new edition lifts the veil and gives it the aural presentation it so desperately deserves, not least because it comes from a better source—reportedly a digital clone of the original tape (and the correct speed seems to corroborate this). Thanks to Dolphinsmile Production for liberating this priceless gem. I remastered it using, among other things, demixing technology. While definitely not a flawless document (recorded on consumer tape, and presumably at no higher speed than 3.75 ips), I believe it would now sit nicely alongside some of the same-era tapes that have been released on the official Bootleg Series. P.S. 01-2026
12/04/67 Basement Tapes - Digitized Jan. 27, 1994 from 1/4" track dubs from G. Marcus - analog 16/44.1kHz - right channel was normalized - last two tracks (b side) sound to be from a different source. - recordings were made in West Saugerties, Woodstock & Byrdcliffe, New York, there is no indication as to where specifically this tape was recorded.
11/10/78 Hec Edmondson Pavilion, Univ. Washington JEMS master recording. Very good sounding recording. We know of 3 and a half sources for this show and believe only 1 and a half maybe 2 sources at tops commonly circulate. This may or may not be one of those sources and we leave it up the fans and collectors to sort that out. At the time this tour was derisively referred to as the greatest hits tour but listening now to this show after all these years it is apparent Bob and his band here are still on the top of their game.
11/16/79 Fox Warfield Theater
11/18/79 Civic Auditorium The Gospel Tour, as it is known, began November 1 at the Fox Warfield Theatre in San Francisco, where Dylan kicked off a 14-night residency. This concert in Santa Monica was the first show that followed the Warfield run and opening night of four in the Los Angeles area. Other than going electric, I would posit there is no other moment in Dylan's career that reverberated like this seemingly out-of-nowhere shift into what might best be described as a musical tent revival with Bob himself as preacher and soul saver. And because of that, the Gospel Tour is divisive: For some fans, it was the jumping off point; for others, they climbed aboard the slow train coming. Dylan's on-stage dialogue at times sparked confrontations with an audience that, by and large, wasn't sure how to reconcile what they were seeing and hearing with all that came before it. I didn't see the Gospel Tour in person; my first Dylan show was still six years away. As such, the radical shift that took place in 1979 doesn't have the same impact for me when revisited in hindsight. On its own merits, the Gospel Tour offers richly satisfying performances and a focused Dylan who was leading the crusade every night. And talk about a set list that challenged his audience. Dylan didn't perform a single song from his back catalog, instead filling the set with all eight songs from Slow Train Coming; another seven from its companion, Saved, which would be released the following year; the still unreleased "Blessed Be the Name"; plus several gospel numbers performed by the show's back-up singers: Regina Havis, Helena Springs and Mona Lisa Young. To our ears, Millard nails it this night. As usual, he's close to the PA with a quiet crowd around him, and the AKGs + Uher yield a great pull in his capable hands. It is a pleasure to listen to. Samples provided. Lossless Bob has six entries for this show which tie back to two underlying recordings. In this case, Millard's tape does match the complete recording from which the bootleg Live By Faith was derived. So instead of an uncirculated source, we have an upgrade, and while the bootleg and circulating copies are very good, we think you'l find this fresh-first generation transfer from reel sharper and cleaner, with less hiss in the quiet parts and more detail in the louder parts.
01/12/80 Paramount Theatre To the best of our knowledge, this represents the first time any recording of the second night of the 1980 tour has been made widely available, at least according to the tour and tape histories chronicled by Olof and Lossless Bob. For years, it has always puzzled us that there were three dates in the Northwest at the start of Dylan's 1980 tour for which there was no known tape. Puzzling because S of JEMS and some of his taping peers at the time attended the Portland and Seattle shows, and to the best of S's knowledge, all the shows were taped. In fact, for years, S suggested that he's not sure he recorded himself because he was so sure the shows were being covered by others with better gear. And yet, no tapes from Portland January 11, 12 and Seattle January 15 ever seemed to circulate. And among the thousands of tapes in the consolidated JEMS archive, including what we believed to be all of S's masters, the shows weren't there either. And yet, they had to have been recorded, right? I've asked S questions about these shows for the last 20 years, so imagine my surprise when he called a couple of months ago to say our friend WG had found a box of S's tapes in his house. A box of tapes very likely borrowed in 1986 and forgotten about until two months ago when they were discovered lurking behind or under some furniture. And lo and behold, there in the box were the masters for January 12 and January 15, missing in action for over 30 years. The box made its way to me for fresh transfers, so thanks to WG and S for that. And while it didn't contain the tape of January 11 (we'll have to keep our fingers crossed on that one), it did contain another 15-20 tapes missing from the archive that I had held in my own hands back in 1986 and had never seen again. The bulk of these were first generation copies made for S by a legendary taper, a taper not known to have ever recorded some of the artists included, but it turns out he did. The tapes are marked in that legendary taper's own unmistakable way. And the notes he included shed just a bit more light on his legend, both in terms of what additional shows he captured, but also the gear he used. It would appear he even managed to record the same show on two different recorders with two different microphones. Two mics--how appropriate for him. That tease will have to suffice for now, but we will be getting to those tapes in due time. But until then, it turns out S was underselling himself, as his recording of the lost Portland show is very listenable indeed and a fine document of this compelling slice of Dylan's career. Samples provided. Thanks to our brother in arms mjk5510 for his continued assistance in taking these tapes over the finish line. It is partners like him that truly get the flow going, and right now we're sitting on a stack of great new tapes to post from Dylan and others.
04/20/80 Massey Hall - Concert # 4 of the Third Gospel Tour. - Gospel concert # 54 - 1980 concert # 28. - Concert # 4 with the Third Gospel Band - t13 Bob Dylan (harmonica). - t17 Bob Dylan (piano).
06/07/88 Concord Pavilion (why cassette(s) for a 69min show? I got confused on time and thought we were getting to the 45min mark and I had to flip but actually we were just at 35min mark so I flipped in haste early and threw everything off)
06/26/88 Saratoga Performing Arts Center - Concert # 13 of The Never-Ending Tour. - Concert # 13 of the Interstate 88 Tour, part 1: Summer Tour of North America. - tracks 7-9 & 13 Bob Dylan (vocal & guitar), G.E. Smith (guitar). - tracks 10, 11 G.E. Smith (back-up vocal) - tracks 6 G.E. Smith (electric slide guitar). - the only Tomorrow Is A Long Time during 1988!

Bob Marley & The Wailers --- Approximate Hours: 68.75
Show Date Venue Media Type Media Count Sound Quality Notes
05/24/73 Paris Theatre -M- (December 2017) FLYING M PRODUCTIONS
05/24/73 Paris Theatre via glasnostrd19: comments: This was almost certainly the first time I ever heard a Bob Marley concert, probably the first reggae show I ever heard, and the same may well be true for many others, too. This is the BBC broadcast, the very beginning of the opening announcement is missing but it doesn't seem like it's missing much because it starts with the announcer saying: "Here's Bob Marley & the Wailers with a Rastafarian chant"... and the opening song begins. There is a tape flip just before the last song, Kinky Reggae but you probably won't even notice that in this torrent. All the songs and between song announcer dialogue are complete. The reception is clean and the sound of this is excellent FM stereo, recorded from a broadcast on WBCN in the late 1970's (probably 77 or 78). I know this show was previously posted here on dime but I had to delete my DL of that one immediately because it failed my standard for clipless torrents. the audio files were solidly clipped throughout the concert and I couldn't even listen to it. This one comes with the Glasnost Radio Productions assurance that it is not clipped, pegged, glitched or gapped, and sounds like an FM show should sound. This was in the day when BBC concerts were broadcast on vinyl and it has great stereo seperation, an art often lost in more recent FM broadcasts. WBCN had a good turntable, and I didn't hear any scratches or skips in this broadcast (which did happen on occasion in some of the recorded concerts). This is good vintage Marley, and probably the best quality yet posted of it. I rarely played this thing because it's on 2 tapes and for a long time I couldn't find it, but this torrent comes entirely from my master cassettes, making this a 3 step torrent from glasnostrd19 to Marley nation. This one is my oldest, but probably also the best quality recording I have of BMW that is suitable for upload since it is my only Marley master. I don't remember which deck I had for this one, I've been through alot of cassette decks, especially before 87, but it was a decent one (definitely long before I got a Naka.)
07/11/73 Paul's Mall 16/44.1khz FLAC 40 A-
07/??/73 Max's Kansas City A+ Several years ago, JEMS acquired three reel-to-reel master tapes from the private collection of a recording engineer. All were 1/2-track, 15 IPS reels (this and one other 10", the third 7") which helped add to their credibility (most fans and collectors in the '70s were not working with tapes in those professional standards), as did some of the other tapes we didn't get which were clearly from studio sessions. This famous recording of Bob Marley and the Wailers at Max's Kansas City was one of the three. The entire contents of the reel are what has been classified for years by Marley collectors as "Set Three" or "Segment Three" of the trio of known recordings from the July '73 run at Max's. The exact recording dates of the three sets are unverified, but they are all drawn from the six night run in July. Previous torrents of this material suggest "there were two shows per night and three shows on the weekend," all opening for, amazingly, Bruce Springsteen. The track list of our copy varies slightly from the widely available version(s) of Set Three in that it is longer and includes "Stir It Up," where most copies stop at "Kinky Reggae." The version of "Stir It Up" is different from that of Set One or Set Two. It is an audience, not soundboard recording, but may well be an "open mic" recording, perhaps from mics mounted at the mixing desk and recorded with permission to document the performance. Sonically, our transfer of this reel source is a material upgrade to the circulating copy of the set, clearly two or more generations closer to the master, though with only 28 minutes of material on the tape, our guess is this reel was copied from the master back in the day. Where the circulating copies are murky, muddy, hissy and very narrow stereo, this upgrade is much sharper, clearer, better defined, with a much wider stereo image and less hiss. It is also speed corrected to what we now feel is the accurate pitch. The recording engineer switched the recorder off either on the master or the copy between songs, but what is there is complete. It is also better sounding than Sets One and Two and represents one of the earliest quality recordings of The Wailers in the US, along with the outstanding Paul's Mall, Boston set from the week prior. We would love to hear from the Marley experts and enthusiasts out there about this upgrade. Thanks to Dubwise1 for his help in comparing this to the previously circulated sources.
07/??/73 Max's Kansas City 24/96 FLAC (Segment 1)
11/25/73 The Sundown
06/08/75 Massey Hall FLAC 16/44.1khz 1 This is a composite of the [almost] complete show using 3 different versions of the circulating audience source [2 of them being retransfers] and a small patch of audio from the CBC-sourced I Shot the Sheriff footage to patch a tape flip. According to a now deleted YouTube comment by user erikt454, the audience source was recorded on a Uher Reel to Reel recorder on 7" reels.
06/10/75 Quiet Knight Club
06/10/75 Quiet Knight Club
06/18/75 Wollman Skating Rink - Central Park FLAC 16/44.1khz 1 A++ --- tape flip inbetween No Woman No Cry & Rebel Music (3 O' Clock Roadblock) --- Get Up Stand Up cuts out and is incomplete
06/21/75 The Manhattan Center FLAC 1 A-
06/25/75 Paul's Mall
07/07/75 The Boarding House 16/44.1khz FLAC 1 B KSAN-FM Broadcast; Master Reel recorded by Jay Abrams [jra-sm]
07/07/75 The Boarding House 16/48khz FLAC 1 A+ KSAN Pre-FM Reel [half-track @ 7.5 ips] to 48khz DAT
07/17/75 Lyceum Ballroom --- These files originate from an transfer done in the early 2000s, presumably for Universal's 2xCD Deluxe Edition series; an deluxe edition reissue was originally scheduled around the same time of this transfer, but was delayed to due to lawsuits between Aston "Family Man" Barrett & the Bob Marley estate.
??/??/75 Harry J Studios
04/23/76 Tower Theater (Late Show)
04/23/76 Tower Theater (Late Show)
04/23/76 Tower Theater (Late Show)
04/25/76 Music Hall
04/25/76 Music Hall
05/05/76 Convocation Hall [Late Show] 24/96khz 1 B+
05/05/76 Convocation Hall [Late Show]
05/13/76 Orchestra Hall FLAC 16/44.1khz 1 A few seconds of Trenchtown Rock and almost 2 minutes of Roots Rock Reggae that are missing on the circulating soundboard are intact here. The only thing is missing is the beginning to Lively Up Yourself and one tape cut near the ending of closing medley.
05/20/76 Music Hall A-
05/27/76 Civic Auditorium
05/30/76 Paramount Theatre FLAC 16/44.1khz
05/31/76 Santa Barbara County Bowl FLAC 24/96
06/13/76 Jaap Edenhal
06/24/76 The Great Hall - University Of Exeter 16/48khz FLAC No, This show did not take place at the "Stardust Club"; additional information on the actual venue can be read at https://www.exeter.ac.uk/alumnisupporters/memories/exetergigs
06/24/76 The Great Hall - University Of Exeter Notes: This tape was a recorded little quiet, so there is a light hiss. There is a volume boost on the source tape midway through "Trenchtown Rock." There are two tape flips, as the encore was at the beginning of Side A. Tape supplied by Dubwise / Transfer done by RRR - July, 2007.
06/??/76 Hammersmith Odeon
12/05/76 National Heroes Park Circle The Singers & Players of Instruments: Bob Marley: Lead Vocals Judy Mowatt & Rita Marley: Backing Vocals Tyrone Downie: Keyboards & Bass Donald Kinsey: Lead Guitar Carlton Barrett: Drums Alvin "Seeco" Patterson: Percussion Additional Helpers: David Madden: Trumpet Stephen "Cat" Coore: Rhythm Guitar & Bass Michael "Ibo" Cooper: Keyboards Lloyd Parks: Bass Willie Stewart: Drums [only on War, No More Trouble & Get Up Stand Up] Irving "Carrot" Jarrett, Kiddus I, Sydney Wolfe & Ras Michael's Sons Of Negus: Percussion
05/16/77 Rhein-Neckar-Halle
05/27/78 Uptown Theater
06/03/78 Landmark Theater DVD5
06/08/78 Music Hall FLAC 24/96khz 1 Includes Concrete Jungle, No Woman No Cry, Jamming, & War > No More Trouble > Get Up Stand Up > Exodus from the late show. Usually circulates as a mislabeled 6/22/1978.
06/08/78 Music Hall FLAC 16/44.1khz 1 glasnostrd19: Marley's popularity was at or near its peak with the release of his album "Exodus", and the Wailers deliver that kind of energy in this show. The beginning seems almost mellow in mood (for a Bob Marley concert) but that doesn't last very long. All in all for both the music and sound, this is one of my 2 favorite BMW recordings. Many I've heard sound either really bassy (almost all do), really generated/saturated or distorted. The King Biscuit Flower Hour radio series also recorded from one or both these shows and broadcasted about 30 minutes. This is not the same source recording made by/for that broadcast, although I bet the KBFH people would not have been too upset if they had to defer to this one instead of theirs, because the tale of the tape on this is it was recorded using 2 mikes (unknown make/model, but good ones), one on either side of the balcony hung on or over the railing. Even though it has the classic bass heavy BMW mix all their live recordings seem to have, on this one, you get the rest of it too, you can hear the percussion and the guitar and keyboards clearly, the bass is heavy, but doesn't drown out everything else. The energy of the last half (or so) of the show is very high, with the Jammin' and a nice encore medley. It is an audience tape, but the quality almost defies that distinction. Whoever did this thing must really like Bob Marley, and took great care to make this wonderful document of a classic concert performance.
06/08/78 Music Hall ONLY Concrete Jungle, No Woman No Cry, Jamming, & War > No More Trouble > Get Up Stand Up > Exodus Usually circulates as a mislabeled 6/22/1978.
06/14/78 Pinecrest Country Club FLAC 16/44.1khz A+ grner1: Some microphone handling noises, level changes and minor dropouts were eliminated or minimized seamlessly and this now sounds way better than previous versions of this show. I consider this to be possibly the best sounding audience Bob Marley recording that I have heard. Check the samples to judge the sound for yourself. Thanks to Dime users chkorch, wailertape and scottsays (by way of pantagruel) for supplying the various sources that make up this remaster.
06/17/78 Madison Square Garden FLAC 1 B+ Louis Falanga's 1st gen cassette copy
06/26/78 The Paris Pavillion includes Steel Pulse opener
07/14/78 Queen Elizabeth Theatre via Pantagruel: "QUALITY WARNING! This is not a super-fine recording by today's standards. If sound quality is highly important to you, I suggest you stay away from this one. It was recorded from high in the QE Theatre's balcony. The audience is loud and there's lots of the venue's ambience in the recording. The vocals are distant and echoey. The bottom end is not super tight, though there is some nice low resonance there, for what it's worth. There are flaws. There's a cut in I Shot The Sheriff, result of a tape flip. There's some print-through audible during part of the recording. I hesitate to mention this, because for the most part it is fairly sublte. The reason for it is that the taper made the spontaneous decision to go to this show and try to record it about a half hour before show time. He didn't have a ticket, or a fresh tape. The print through was the result of something already on the tape which wasn't thoroughly erased by the new record process. It's audible for about five minutes or so from the very end of "I Shot The Sheriff" through the first part of "No Woman No Cry." I will post an mp3 sample so that people can make a decision if they want to download or not. Again, if it's a big issue, don't bother downloading. I for one am glad that the taper made the effort, and came away with this recording, whatever the flaws. If, on the other hand, you want one more rare glimpse into the spirit of Bob, then by all means, be my guest. On the plus side, the lineage is known; my cassette came directly from the master. Some aspects of the prominent audience ambience are pretty cool. The crowd reaction is ecstatic. You really get the flavour of what it was like to be in Bob's presence. With all the flaws and limitations, there are things to recommend this show to the Marley collector; cool, unique solos from Al, little raps from Bob, generally sublime grooves from the Wailers, ecstatic audience, stuff like that. I made many cassette copies of this back in the day, but I don't think this particular source circulates in the digital realm. The etree database has an entry for this date, but I haven't heard it, so I can't comment."
07/18/78 Civic Center FLAC 16/44.1khz 1 Notes [grner1 - 2021-01-31]: The Sound quality is fairly decent, though there are some rough spots in the first couple of songs. Part of track 2 had a bad channel so the good channel was pasted into the other with the differences made less noticeable by panning gradually from stereo to mono and back. There is also someone playing some stupid whistle in the audience that gets picked up for some of the first two songs until I could move away from that idiot. While moving the stereo image remained OK by keeping the mics pointed correctly, but by the time I stopped moving forward the bass and midrange sound pressure levels were a bit overloaded, so the rest of the show sounds good but not great. Audience noise was no longer a problem with the music so loud and there are no cut songs so overall this probably rates as better than average for Bob Marley audience recordings. Please check the samples to judge the sound quality for yourself. By the way, the Nakamichi 350 was a rather large deck to sneak into a show and I was caught trying to enter the early show with it. Luckily a friendly female friend helped to successfully get it into the late show! A soundboard recording of the early show was subsequently shared here. Now that I have gotten a chance to remaster the late show, I will post it separately.
07/21/78 The Greek Theater FLAC 16/44.1khz 1 B+ Approximately 10 seconds from the end of track 11 applause into the first few drum beats of track 12 was cut on this master and was spliced in from a different version.
??/??/78 Babylon By Bus Alternatives Running Away is from the June 4th, 1977 Rainbow Theatre concert. All other tracks are from the June 1976 Hammersmith Odeon concerts. **via Denise Mills (RIP)**
04/06/79 Shinjuku Kosei Nenkin Kaikan
04/10/79 Nakano Sun Plaza Hall
04/10/79 Nakano Sun Plaza Hall
04/10/79 Nakano Sun Plaza Hall --- This was originally shared as an audience source for the April 5th, 1979 Shinjuku concert; As of January 2025, the actual audience source for the April 5th show is currently not in general circulation. --- AFAIK, this is the only non-audience source for this date that isn't sourced from any of the semi-official CDs from Japan; However I cannot confirm is this from the original NHK-FM broadcast. --- Thanks to cpscps for the audience source which provides a few small patches for Burnin' & Lootin', No More Trouble, & Is This Love [all discontinuity dropouts]
04/11/79 Osaka Kosei Nenkin Kaikan Original Notes via RKL of the now-defunct reggaetraders.net (circa February 6th, 2007): "All Japan shows come from the dats my buddy scored years ago..This might be mis-labled I don't know enjoy..Jah love Bob lives" ----------------------------- New Notes: --- The original fileset for this show had the date as "1979-04-11 early"; as mentioned above, RKL did say this "might be mislabeled", so I don't know if the audio belongs to the April 11th, 1979 Osaka show, or the April 7th early show. --- 3:56 to 5:08 of Is This Love had some digital skips & clips (too many to count) that was manually removed --- Thanks to the taper for making this recording possible --- Thanks to RKL for this source --- Thanks to Bob Marley & The Wailers for existing
04/13/79 Festival Hall Edits/EQ: none Notes: tape-flip cut in "Is This Love"
04/16/79 Western Spring Stadium "This is the definitive interview with Bob Marley from his New Zealand tour of 1979. Clips from this special have been used in every documentary on Bob you've ever seen - it was even sampled on Paul’s Boutique. It’s the most open, friendly and forthcoming interview Bob ever gave because Dylan really hung out with Bob, played football with him (and his team The House of Dread), became friends and gave him a platform for his revolutionary vision. Sadly Dylan never saw a penny from all the licencing money TVNZ made from it over the years. BUT I’m sure he’d get a kick out of it finally being made available for real fans to watch for free." ---- John Taite
04/23/79 Perth Entertainment Center
04/23/79 Perth Entertainment Center --- Thanks to the taper for making this recording possible --- Thanks to the "big old time collector in Europe" & the "friend in Holland who purchased them long ago" for the source tape --- Thanks to John "Dubwise Garage" Dubois for the transfer
04/25/79 Festival Hall
04/27/79 Hordern Pavilion 24/96 FLAC The Professor Goody Version (24/96)
04/27/79 Hordern Pavilion 16/44.1khz FLAC
07/21/79 Harvard Stadium 16/44.1khz FLAC 1 A+
10/25/79 The Apollo Theater 24/96khz
10/25/79 The Apollo Theater 16/44.1khz
11/01/79 Maple Leaf Gardens
11/02/79 The Forum
11/13/79 Uptown Theater (Incomplete Version: Positive Vibration, I Shot The Sheriff, Running Away > Crazy Baldhead, The Heathen, Africa Unite, Exodus, No Woman No Cry, Jamming) via grner1: "No released material - low-gen. audience NTSC DVD video. Mostly close shots of Bob, the video quality is decent for an audience video. The audio is not that good but still acceptable. The video already had on-screen titles at the beginning of the recording and before each song. (This content was supposedly shot by a student)"
11/15/79 Northrop Auditorium, U. of Minn. FLAC 1 B+ Acquired Analog Master from the Krw_co Collection
11/15/79 Northrop Auditorium, U. of Minn.
11/20/79 Paramount Northwest Theater FLAC 16/44.1khz 1 This is a speed corrected composite of the complete show using 2 different versions of the same circulating audience source: John "Dubwise Garage" Dubois's 2nd Gen Cassette Copy and an alternative low-gen copy originally shared by Chunga1.
11/23/79 Pauley Pavillion Notes: --- The original fileset for this source - prior to this remaster - suffers from multiple digital clicks, skips & repeats and audible digital noise reduction; while what I have done to make it more listenable wouldn't change your mind if you have an distaste for subpar audience recordings or noise reduction gone wrong, an more appropriate upgrade to this source (fresh transfer & mastering / speed correction, labour of love, etc) cannot happen due to circumstances beyond my control. For now, The most important thing for me is sharing this with the correct information and fixing it via the only source in general circulation. --- Formerly mislabeled as the Saturday, November 24th, 1979 San Diego, CA concert; yes, this is the actual UCLA concert. --- The tape ends as the opening notes to Jamming begins --- Thanks to Kwaku Lynn for recording this source --- Thanks to Roger Steffens for the gen1 cassette & John "Dubwise Garage" Dubois for the information on said gen1 cassette. --- Thanks to oldguy52 for the original fileset --- Thanks to Bob Marley & The Wailers for existing
11/27/79 The Roxy JEMS is pleased to revisit another master recording made by Ed F, longtime friend and co-conspirator of Mike Millard. Along with Barry Goldstein, the trio taped a treasure trove of SoCal concerts in the 1970s. To date, we have presented his cassette masters made on lower-quality gear, but like Millard had in 1975, Ed upgraded his rig to Nakamichi CM-50 microphones and a Uher CR-240 cassette deck sometime in 1978 resulting in a massive sonic improvement to his recordings. Fortunately for us, Ed brought the new equipment to the Roxy to tape a special performance by Bob Marley & The Wailers in the 450 seat club. Marley has just played Pauley Pavilion on the UCLA Campus four nights prior on the Survival Tour, but agreed to do the Roxy set as a benefit for boxer Sugar Ray Robinson's Youth Foundation based in Los Angeles. Recordings of the Roxy performance have been in circulation for decades, but this new transfer from Ed's master cassettes captures parts of the evening that had been previously undocumented. DIME user cottonhash points out that this transfer includes a special presentation to Robinson, from legendary record exec Tom Porter, is missing from the circulating versions. This should also be a material upgrade to circulating versions in sound quality, and like a lot of the best Roxy recordings, offers a You Are There quality that acts as a sonic time machine. Thanks to Professor Goody for checking the pitch on this one and to mjk5510 for handling post production. Also, shoutout to cottonhash for encouraging us to release this show and helping us prepare the release. Finally, we're extremely grateful to Ed F for loaning us his historic master tapes. BK for JEMS
12/02/79 Santa Cruz Civic Center (Early Show) 24/96 These shows were recorded and at least one show was broadcast live by KUSP-FM. KUSP-FM ceased to exist August 1, 2016. The original reels were retained by the KUSP-FM reggae DJ Lance Linares but he has not shared them since shortly after the concert date. These are from copies made in 1980 from those masters for one of the sound crew who mixed the show. They loaned him the reels and a Revox A77 so more than one copy was made at the time and these transfers are the best sounding of them. I guess this wasn't the only live broadcast from their tour, but I remember that KUSP said that they convinced Bob Marley to let these shows be broadcast by telling Bob that KUSP was within range of Soledad Prison and that the prisoners would be allowed to listen to them, so he agreed. These recordings have circulated widely, but usually as just one show and either from the FM broadcast or from multi-generation copies of these tapes.
12/02/79 Santa Cruz Civic Center (Early Show) 16/44.1 khz hese shows were recorded and at least one show was broadcast live by KUSP-FM. KUSP-FM ceased to exist August 1, 2016. The original reels were retained by the KUSP-FM reggae DJ Lance Linares but he has not shared them since shortly after the concert date. These are from copies made in 1980 from those masters for one of the sound crew who mixed the show. They loaned him the reels and a Revox A77 so more than one copy was made at the time and these transfers are the best sounding of them. I guess this wasn't the only live broadcast from their tour, but I remember that KUSP said that they convinced Bob Marley to let these shows be broadcast by telling Bob that KUSP was within range of Soledad Prison and that the prisoners would be allowed to listen to them, so he agreed. These recordings have circulated widely, but usually as just one show and either from the FM broadcast or from multi-generation copies of these tapes.
05/30/80 Hallenstadion 16/44.1khz FLAC From the text info file: Taper: Source is personally known (but not me) Source: Taken directly from the mixing desk (!) Quality: A+/A++ (the audience level is a bit lower than the sound)
06/06/80 Koln Musik Hall
06/07/80 Crystal Palace Bowl Only two songs: Sun Is Shining Positive Vibration *Both are incomplete fragments*
06/08/80 Betzenberg Stadium
06/18/80 The Forum
06/20/80 Waldbuhne
06/27/80 Stadio San Siro "This is my recording, without the I-three's opening. I taped this with a portable recorder without external mic and only a C90 tape, so that I switch off the recorder at the end of each song. I was near the stage, on the left, and this was one of the most beautiful concert of my life.....with other 80.000 people. "
06/27/80 Stadio San Siro -- An previously available transfer of this source via 38f/Fabio B. stated that Schoeps microphones was used; because of recent skepticism of Schoeps mics being used this early, I have left the microphone information out. --- per Ricchese (of The Italian Team), the master cassettes for this source has been recycled and no longer exists: "The taper was used to make a sort of analog equalization through a stereo and two tape decks for every recording he made, then the original tape(s) were recycled for the next recording; The "master" is no more existing because the tape used to dub for trades was the original first gen with an amateurish equalization, and it's the same first gen sold from the tapes lot (if I remember correctly, it was a long recording taped on two tapes, not a single one)." --- Thanks to Andrea82 for the fresh transfer and the wav files
06/28/80 Stadio Comunale This recording has been long circulating as an incomplete source. This is the same audience source, but it includes more tracks (probably the most complete version of this source). It has been discovered and released to the traders community by Ivan Serra, administrator of BobMarleyMagazine.com, who said he doesn't want to see any "no copy" labelling about this recording. I hope some people will eventually follow this wonderful example in the future, as I am sure a few people claiming to have so-called "no copy" stuff don't have this recording yet. Spread the spirit, spread the message, spread the music, spread the happiness, spread the harmony, spread the respect, spread the love...!
07/03/80 Le Bourget via letsgo: "I was asked several times for this; unfortunately, ripping my cassette i found the (longs) encores were not recorded, probably due to bad conditions (drowned in a big crowd movements with lots of chat). Everybody knows SB recordings of this show are circulating, this is for people who like audience tapes and can stand chatting around (but they still can find some good audio portions here)."
09/17/80 Meehan Auditorium remaster of muleman2's fileset of SBD
09/20/80 Madison Square Garden

Bob Weir Band --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/25/78 Old Waldorf FLAC 24/96khz

Bruce Hornsby --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/09/87 Laguna Seca Raceway
08/31/95 Valley Forge Music Fair Comments: - There was a time when I didn't think I'd want to listen to music that didn't include a guitar in there somewhere, whether it was electric or acoustic. There's not one in sight here and I didn't miss it at all! - Jerry Garcia played on the album version of "Cruise Control" and this was the last time that Bruce and Jerry played together. Thanks to David Gans for this super recording. Thanks to Charlie Miller for the transfer. edited and mastered SIRMick August 2019

Bruford --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/07/79 Theatre Municipal Revised Edition Notes: (via ByTorX1) After releasing this tape last month, a day later I received an email from Martin Westwood. He was the sound engineer who worked with Bruford on this tour, and this was one among several shows he recorded. He had no reservations about the fact this tape has been shared, in fact he has been slowly uploading tapes of various bands on his own YouTube channel. He revealed to me a photo of a different cassette for this very show in Nimes, and sure enough his handwriting matched with the writing on the second tape I own. Upon asking if he had made a copy for someone, or perhaps had two recorders taping, after several days of thinking he confirmed remembering making a copy for another sound engineer named Craig. Martin and Craig worked for different sound companies, however they worked together briefly in early 1980 for Genesis on their Duke tour. During that time they traded copies of some of their recordings. All these years later Craig's copy made it's way into my possession. "We were both working sound engineers who took a keen interest in each other's work so we ended up swapping a few tapes." So what was previously believed to be the master is actually a 1st gen copy. In Martin's words, "my sound company, had a number of Nakamichi DT550 portable cassette recorders and I made the copy for Craig using two of these." This would explain the higher level of hiss, and possibly the cause of subtle wow & flutter. On DIME, Goody reached out to me with an offer to speed correct remaster this recording. I told him I was more than happy for him to do whatever he wanted with this tape. The version of the recording released with this torrent is all of the work he has done, and I would say this is an easy improvement. There were a few delays on my end however. Upon noticing that a Windows update seemingly reset my soundcard's driver settings to default without me knowing, what should've originally been a 24-96 capture was actually a 16-48 capture, despite what the file properties say. I noticed this after transferring another tape and looking at the spectrogram (something I should get in the habit of doing for every tape transferred). Needless to say, I had to completely retransfer the Bruford tape, among many others I'd done in the month of March. This revised edition Goody is releasing is a proper 24bit - 96khz transfer, alongside his 16bit - 44.1khz version for those who prefer.

Buddy Guy & Junior Wells --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/21/79 Paris Mutualité

Bunny Wailer --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/12/86 Long Beach University "This was Bunny's first US gig since 1973, and possibly his greatest solo concert ever performed. It certainly was the longest show, and presents a nice overview of Bunny's musical career to that point. I got these tapes in 1987 from someone who worked in the concert lighting business in Southern California."
11/01/86 Henry J. Kaiser Convention Center
11/01/86 Henry J. Kaiser Convention Center 24/96 FLAC
11/02/86 Greek Theatre Includes Leroy Sibbles' Opening Act
04/13/89 Circle Star Theatre
04/16/89 Irvine Meadows
11/19/95 Santa Cruz Civic track markers adjusted and 1/10th-of-a-second gaps at the start of tracks removed by EN, November 2020
12/14/97 Beacon Theatre shnf An alternative audience source (cass/1 daud source) is used as filler for Walk The Proud Land & Keep On Moving
04/26/98 AT&T Amphitheater
05/30/98 Palookaville
05/31/98 Truckee Amphitheatre --- This recording was received from Larry G and provided by Stucco --- Thanks to Robbie at Renegade for his assistance
07/31/10 Garance Reggae Festival Via Rudie: "the Story : We weren't staying for Jah Cure, so we had a tough decision to make.....when to take a break for dinner. It had to be between Big Youth and Bunny Wailer. So we made it through the crowds to the Ital Food stall and had a plate of good food, then walked slowly back towards the main arena as the opening numbers of Bunny Wailer drifted over towards us. The recording starts part-way through Baldhead Jesus, so by my reckoning I only missed a couple of intro songs and then Rastaman Chant with Jah B. Without doubt the cleanest recording of the weekend......I guess that next year I've got to find a way to split myself into four. Audio from the back, Video and pics from the front, and another to make the battery changes correctly (never mind my darling wife, the pics more than made up for that). After Jah B we made our way back to the tent and listened to Jah Cure from there as we drifted off to sleep."

Burning Spear --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/??/76 Paul's Mall Notes: --- This source was originally shared as November 1977, but by that time Burning Spear was just Winston Rodney and Rupert Willington & Delroy Hines was no longer a part of the group --- An 8:30pm early show & an 11:00pm late show was performed on these two dates, but it is unknown on which day and what show this recording is from --- All tracks were running fast and had to be speed corrected (Tracks 1 through 7 was -.51 to -.78 semitones / Tracks 8 through 11 was -.78 to -.51 semitones) --- Thanks to John "dubwise garage" Dubois for the source and transfer --- Thanks to the Burning Spear trio & the Black Disciples for existing
08/20/78 Music Inn The Jamaican Reggae Festival @ Music Inn
10/23/80 Coconut Grove via grner1: Notes: This source was first seeded here in late 2005. There were a couple of sector boundary-related gaps in that version so this is a new file set. The disc split between the main set and encores was the only break in the recording so it was the logical place to split it up, but the show can be divided more evenly if desired (between tracks 8 and 9 of the first disc). My Ampex GrandMaster 1st gen. reel required baking before transfer. Set list was copied from the KUSP reel box and may have some incorrect titles, since the other recent seed of this show had a few title differences. Enjoy and SHARE!
11/01/80 Center Stage
01/21/81 Rosengarten level problems in d1t01
04/07/81 Agora Ballroom SHN Correct Sector Boundaries Verified Using Shntool Digital Mastering by Charlie Connor 11/18/01 Thanks To DB for this Show !!! (DB#5) Jah music is for love, not for sale.
09/24/82 Wolf & Rissmiller's Country Club
03/05/86 Town And Country Club
08/30/86 Jarrett Park
11/04/86 Toad's Place taperchuck3 (December 2019): New transfer from master. this was traded on cds on a vine by sideshowbob. A digital transfer was made from a copy of the tape in the past. tape change during t14 @6:40. show is 92 1/2 minutes. enjoy!
11/12/86 The Channel Comment t04 fade-out; fade-in during t15 @6:40. Levels adjusted 3db at a time to blend in the fades. show is 103 minutes. enjoy!
05/??/88 Unknown The actual date for the show could be any one of the following: Sunday, April 3rd, 1988 @ Jannus Landing, St. Petersburg, FL (Easter Sunday Reggae Bash) Sunday, April 10th, 1988 @ Hilton Melbourne, Melbourne, FL
10/19/88 Tipitina's
10/27/88 Red Creek Inn "Aaaaand, we're back to the Doug R. collection and another new, unknown, uncirculated show. This time from the Reggae legend Burning Spear. And it's crazy that the first time I saw Burning Spear was in New Orleans on October 19th, 1988, only eight days before this show. I was on Dead Fall tour, and I had just caught and recorded the 10-18 New Orleans show. My wife and I stayed in New Orleans another few days and happened to catch Spear's show at Tipitina's. This recording is off the master audience recording made by David Bernis. And once again, David did a great job with this. When Doug R. did the transfer, there was some tape breakage at the beginning of the show, so the opening song is cut off a little bit, well all but the last minute is missing. And unfortunately there is a tape flip in the middle of "Foggy Road". Otherwise, everything sounds great. The setlist here is similar to the Tipitina's show I saw, but the songs are in a slightly different order. This is pretty common for Burning Spear, mixing things up some every night. The band is sounding strong, especially his horn section. Those guys are really coming through in the mix. Many times the whole band has that "Driving that train down the tracks" vibe to it, so that's a lot of fun. Although there are not any real stand out songs or moments in this show, I did really get into the songs "Swell Head", "Jah No Dead" and "Slavery Day's" mostly because they all had solid deliveries that night. I was a little confused with the 5th song of the night. He's singing "Girl I Love You..." and I can't seem to find a Burning Spear song with that phrase in it. Later he does the song "Woman I Love You", which is entirely different, and I was able to track down. So I think I might need some help with that 5th song's correct title. Plus the very last song I couldn't identify. I'm also gonna start going along with Doug's assertion that this venue, Red Creek Inn, was in Rochester. He gave me a little history lesson on the place, and I'm not gonna argue with local traditions. If the good people of Rochester wanna claim The Red Creek Inn as their own, and say it's not in Henrietta, New York, who am I to disagree. There might be more to this show on another tape. Doug is dealing with boxes full of tapes from David's collection. He may find a 90 minute tape of a show, then a week or two later, the end of the show turns up on another tape he discovers in another box. I feel that might be the case with the Spear recording. If the rest of this show comes through, I'll let ya'all know."
04/27/89 Toad's Place
06/02/90 Irvine Meadows Amphitheatre ~ Sourced from the Teddy Ballgame Archive ~ Couple spots of light (wind) phasing but very minor - great sound here ~ Very brief spots (near start and end) where the mics were adjusted - no music affected ~ Very special thanks to brother Ted Mattes
09/29/90 Montmarte
11/14/91 State Theatre 24/96 flac Notes: --- the opening notes to Slavery Days are clipped --- Thanks to the taper for this recording --- Thanks to David Bernis for the Beta HiFi source --- Thanks to Doug Rice for the transfer
11/14/91 State Theatre 16/44.1 flac Notes: --- the opening notes to Slavery Days are clipped --- Thanks to the taper for this recording --- Thanks to David Bernis for the Beta HiFi source --- Thanks to Doug Rice for the transfer
09/12/95 Slim's An excellent recording until the very last second when the DAT ran out. Enjoy! --mhg :: 2025-09-21
07/19/96 Central Park SummerStage - Rumsey Playfield
07/13/98 Toad's Place
08/31/98 Grass Valley Veterans Memorial Building Notes: - Stucco told me that he and his friend were patched out of the soundman's, presumably, house cassette deck. When his side A ended, their tapes cut. He thinks that they waited impatiently for a minute or two and then one of them flipped the sound guy's cassette so the recordings could continue. However, having compared it to other recordings in the same period I think it's likely that over 4 minutes are missing from African Postman. I have faded the two parts together for a better listening experience. Thanks to Stucco for this great recording. edited and mastered SIRMick April 2020
09/17/98 The Globe *master had a few drop outs, cuts and level changes that where smoothed out by the white devil
09/18/99 Pines Theatre SHN
06/17/00 Sierra Nevada Music Festival 16bit/48khz
10/19/00 Regent Street Retreat
08/19/01 Summit Music Festival this recording starts out with some distortion in the mix [particularly the vocals, bass, and drums] which was definitely coming from the stage PA. It slowly gets better over the course of the show and is finally completely gone about 20 minutes into the recording (half way through track 5). I scrubbed 3 whistles and a couple of claps from this recording. It didn't need much TLC. Recorded, transferred (6/23/2012), tracked (9/19/2019), and mastered (12/11-18/2019), and posted (12/19/2019) by Scott Bernstein Taper notes: 201 entries into my BARN archival series, I finally bring you an incredible reggae recording from my archives -- I present the mesmirising (and still living/performing) authentic original roots reggae artist, Burning Spear (original name: Winston Rodney). This is not some modern interpretation of reggae, but the real deal thing as he's been doing it since 1969 -- keeping it with some touches of psychedelia and just guitar, saxophone, bass, drums, and percussion -- keeping it simple and performing only his original music. I am a big fan of Burning Spear and have seen this band a ton over the years. Here's one of those shows. Unfortunately the sound mix was somewhat distorted for the first few songs (sorry, there is no fix for that) -- so you might want to skip to track 6 if it bothers you... Enjoy!
09/19/04 Central Park Summerstage
01/03/07 Jam Cruise 5 - Pool Deck
01/03/07 Jam Cruise 5 - Pool Deck via John "dubwise garage / bobmarleyconcerts" Dubois: Recieved by webtransfer , I believe its a copy straight from the master. This was no copy for a long time but the 10 year rule is over, time to share it. Incredible Jah No Dead and Rocking Time. Crank it loud !
07/24/22 YouTube Theater
08/25/22 Central Park SummerStage
06/12/24 Lincoln Hill Farms
06/13/24 Brooklyn Bowl
09/30/25 Iroquois Amphitheater
10/05/25 Salt Shed
10/17/25 Mountain Winery

Cactus --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/31/70 Fillmore East ::: Very fine AUD for its vintage. Check samples for rejection or injection determinatin'. ::: Warts: Repaired dullspots & dropouts but surely missed a few. Taper cut off deck between songs. #1 missing 1st few notes. #2 cuts in bass solo & resumes with final 15 seconds of song. #4 has a (probably quite brief) cut at start of drum solo. #5 cuts out at very end of song. ::: October 30 & 31, 1970 Fillmore East bill: Lee Michaels, Cactus, Juicy Lucy. Lights by Pig. Two shows per nite. ::: Date disputed in past but got this from my source as 1970-10-31 & Rusty(?) says "Happy Halloween" to the crowd. ::: COMPARISON CLAUSE: Unknown generation roryglzep/elegymart version has been DIMED numerous times. This version is a known generation (and remastered) upgrade. --------------------------------------- DimeTravel 244 ::: Thanks to the original taper & traders! My copy came from The Florida Kid. ::: Corrections welcome ::: We spent alot of time groovin' to this band. Loved the original line-up, but also really dug 'Ot 'n' Sweaty. The one time I got to see Cactus I think they were recently back from their appearance at Mar y Sol Pop Festival. They played outside on a lovely sunny afternoon on a day with 5 or 6 other bands & it was really, really fine. A lot of camaraderie at many of the shows I saw in that era & the music really brought a lot of folks together - Cactus, Canned Heat & so many other bands that boogied with fresh & unapologetic styles. Anyway, for those who were there, here's a reminder & for those who weren't, a way to catch some of the vibes, 45 years on... Listen, enjoy, show appreciation, share, give, spread peace. Yrs truly, Knees

Can --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/22/72 Waldbühne Wuhlheide V2 Changes: (Nero 8 unless indicated) Converted Sources 1&2 back to straight mono using better sounding right channel only Fixed 100+ significant volume swings (ranging from 2-30sec) Fixed glitch at beginning of track 01 Patched transitions between tracks on sources 1&2 using source 3 Patched further 2min onto the end of track06 from source 3 Re-tracked track transitions Flac tagging (Tag&Rename) V3 Changes (Nero 8 unless indicated): Increased volume of tracks 03-06 by +1dB Fixed patches of phase inversion in tracks 03-06 (Audition) Fixed SBEs Bass EQ +2dB Speed correction using Flambay settings [gradual cents change from start > end] (Audition) Track 01 [-12 > -25] Track 02 [-30 > -70] Track 03 [-15 > -20] Track 04 [-20 > -30] Track 05 [-45 > -50] Track 06 [-50 > -120]

Caribbean Allstars --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/29/91 Polo Grounds - Golden Gate Park

CBS Allstars --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/12/77 Berklee Performance Center via glasnostrd19: " I think there was a version of this concert posted before this one on dime, but this one is from a pretty good sounding 1st generation reel from master cassette copy I have of this. I didn't see this show (I was at a George Benson show that night and fortunately had a friend who saw this one) so I'm not sure if this is all of it but I believe it is except one song cuts in for a tape flip and another is cut seconds before the end. 2008 was the first time I ever uploaded this, after recently putting it on disc and FLAC file. They do some Tom Scott songs, some Alphonso songs, a few by Steve Kahn and a couple by Cobham. A nice mix of tunes here played in a very good sounding theater and sounding very good. Billy has played the Berklee P.C. 2 times that I know of (the other being 78), the time before this in 76 with the George Duke group he had then was at Symphony Hall, I was told. (anybody out there have that one? I missed it) This was an inspired show, Mark Soskin was a very recent Berklee College graduate around this time. 1977 was a very good year for shows, too many to see nearly all the good ones. This is one worth hearing a few times, although the Follow your Heart is NOT the same song John McLaughlin and the Joe Farrell Quartet played on Farrell's record which came out in 1977 so don't get your hopes up on that... (too bad, that would be something special). these shows usually had a set break after "mondo". the end applause of that track is spliced (seamlessly) due to tape recorder shutoff at the end of the set, and I don't know for sure that there was a break in this show too, since I didn't see this show, but there probably was."
11/27/77 Fisher Theatre Revision Notes: -original audio was running significantly slow (more than a semitone), but by different among the 3 tape cut segments -the first cut is after Track 7 (Bahama Mama) -the last cut is in Track 11 (3:05). I added a 1 sec gap there to more clearly demarcate the cut. Tracks 1-7: +6.8% Tracks 8-11 (first half): +7.4% Tracks 11 (second half)-13: +9.8% -essentially a mono recording, but the channels are not identical -phase corrected by varying amounts (0-5 samples) -balanced channel levels -fully monoized a few fraction of a second segments where one of the channels was damaged (using Audacity, all other edits using MATLAB) Original audio first torrented by mr_mags, June 2012 Revisions by Ross (ledwhofloyd), Nov. 2023

Cecil Taylor --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/06/69 Berlin Jazz Festival Edit details (Neo 8 unless indicated): Corrected periods of phase inversion throughout (Audition) DC offset correction Fixed SBEs in the original post Increased music +1db above talk / applause Normalised volume Corrected balance and volume variations throughout Fixed one drop-out, almost seamlessly Cross-mixed channels (99:1 ratio) Flac tags (Tag & Rename) Flac 6 + SBE / decode check
10/23/77 Blues Alley The stronger channel has been pasted over the weaker channel to create a true mono version of this mono recording.
12/08/78 Corcoran Gallery from "DC" our anonymous donor: From the master cassette tapes. Recorded from the audience using a Hitachi portable mono cassette recorder with manually-set levels on BASF conventional bias cassettes. The tape spools were transferred to new cassette shells prior to the digitization of these recordings more than ten years ago. While analog cassette copies were shared with friends in the late 20th century, digital transfers from the masters have not circulated before October 2018.
12/20/80 Blues Alley
11/30/84 Baird Auditorium, Museum of Natural History from "DC" our anonymous donor: Cecil Taylor, solo, Baird Auditorium, Museum of Natural History, Smithsonian Institute, Washington DC, November, 30, 1984. Recorded from the first row, near center, using a Sony TC-150 mono cassette recorder with ALC on a conventional bias TDK cassette. This transfer was made in 2013 by playing the master tape on an Akai GX F31 cassette deck into a PC, where the signal was captured via Goldwave. The channel with the strongest signal was copied and the copy was pasted into the opposite channel for true mono sound. Part two of this recording--the last 13 minutes of the set--was made on side B of the cassette after the tape flip. For whatever reason, the cassette began making a faint, regular clicking sound following the tape flip. The sound was picked up by the microphone. For that reason, a file made from a first generation copy of part two of an alternative recording--the last 11 minutes of the set--is included. The alternate recording was made by a friend sitting further back using a small stereo Walkman-style recorder. Sadly, neither the friend or the remainder of his recording are with us today.

Cecil Taylor & Tony Oxley --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/08/07 Royal Festival Hall Edit details (Nero 8): Fixed SBEs Reduced applause levels -2 db Increased music levels +1dB Fixed a lot of large balance swings in applause and all of track 03

Cecil Taylor Unit --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/08/78 Corcoran Gallery from "DC" our anonymous donor: From the master cassette tapes. Recorded from the audience using a Hitachi portable mono cassette recorder with manually-set levels on BASF conventional bias cassettes. The tape spools were transferred to new cassette shells prior to the digitization of these recordings more than ten years ago. While analog cassette copies were shared with friends in the late 20th century, digital transfers from the masters have not circulated before October 2018.

Charlie Parker --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/08/50 Birdland *Goody's original speed/pitch adjustments: Pitch of tracks 1-3 were approximately 135 cents sharp; Pitch of track 4 was approximately 135 cents sharp until approx. 1:23:50, then gradually approximately 50 cents more; and Pitch of tracks 5-6 were approximately 65 cents sharp. Further speed/pitch updates performed for this edition to get it even better now! Text updated for original edition: July 17, 2011 Text updated for v.2: August 29, 202

Chick Corea --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/13/72 Carnegie Hall A DoinkerTape / Village Idiot Production Text updated for this edition - October 17, 2025
10/29/72 Sendesaal
01/30/73 Keystone Korner Original audio shared by mr_mags on June 27, 2008 mr_mags Notes: Slight static & hiss emanate from this rare old FM broadcast. The beauty & lyricism of Chick's playing shines through, though. Those over 45 years old might remember the novel: Jonathan Livingston Seagull. Chick's interpretation of JLS' journey is a true work of art-IMO. Revision Notes: -Spectral analysis suggests that most of track 1 was noise reduced sometime earlier in the lineage, but apparently the noise reduction was turned off or at least turned down near the end of track 1 and for tracks 2/3 -Varying phase error that increased as the recording progressed, with the right channel leading by an average of 14 samples to a maximum of 22 samples -Varying phase error corrected automatically in MATLAB -Some clipping, mostly during the first 5 sec and only minor elsewhere, so I lowered the levels of everything by 2.86 dB and clip fixed at a threshold of 98% -1st order low pass filtered with a cutoff of 7 kHz for only the first 5 sec to reduce clip fix artifacts -Note that the effective bandwidth of that part of the recording only extends to 5-6 kHz, so no useful frequency info was lost in those 5 sec of filtered audio -Original audio ran slow. Speed increased for everything by +3.5%. -ledwhofloyd (Ross), Jan. 2023
07/16/80 Hollywood Bowl Show notes: This is a different show than Chick's June 22 performance at the Hollywood Bowl that was taped by Robert Collins. As of Feb. 2026, there is a promotional program for the July 16 show at https://archive.org/details/claphila_000058/mode/2up. Some of the music is jazz, some tango, some chamber music. If you are a fusion fan, Celebration Suite is probably the main draw. Editing notes: -After the cut in track 9 through to about ~8 mins into track 10, the levels were much higher than the surrounding audio. I lowered them by 5 dB and applied clip fixing for this section (Audacity). -automatically phase corrected the channel alignment (MATLAB) -automatically balanced levels (MATLAB) Speed corrected (MATLAB) because: -Tracks 1 and 2 (to the cut) were 8.2% slow. After the cut, track 2 was 10.2% slow and got gradually faster, reaching 9.5% slow near its end, and continuing to 8.5% slow by about 4 minutes into track 4. -It remained at 8.5% slow after the cut in track 4 through track 8. -Track 9 to the cut was 8.4% slow. After the cut, track 9 was 7.0% slow and got gradually faster, reaching 6.6% after about 90 sec. It stayed there through the rest of track 9. Track 10-11 were 6.4% slow. -Seamlessly joined the audio/removed repeated material for track 2 (Audacity) Ross (ledwhofloyd), Feb. 2026
03/18/81 Toad's Place Notes: -one of the first recordings of this band, right after the making of "Three Quartets" -at this time period, Steve H was usually recording with Nakamichi CM-300 mics on a Tehnics RS-686DS, but I'm not sure if that's how this recording was made considering the less than stellar fidelity and the fact that this is mono -I'm not sure what track 9 is called (there might be two songs there), maybe Folk Song? -the recording has several cuts and I have mostly aligned the tracks with the cuts - no audio has been removed from the transfer -addendum: after sharing on dime, michaelmee pointed out that track 5 should be titled Humpty Dumpty, so for the share on TTD, I have renamed tracks 5 and 6 and made a new checksum but the audio is the same -mono recording: had a pretty large channel phase misalignment of about 11-12 samples (sometimes as low as 5 samples), which was automatically corrected -levels are running pretty hot with not a lot of dynamic range -automatically balanced levels (typically required reducing a channel - usually the right - because the levels are close to the max) -transfer generally ran a bit slow - between 0% and 2%, using the piano as the primary reference -speed varied quite frequently and randomly, sometimes gradually and sometimes abruptly (presumably due to localized regions of tape stretching/shrinking), so many adjustments were required to keep it in line and it was not a simple task -for example, the speed jumped from 1.9% slow to 0.4% slow over about 1 sec at 7:40 of track 2, and then was back to about 2.0% slow at ~9:00 of track 2 where it remained until the next cut -there are still some sections where the pitch moderately fluctuates, but relatively quick fluctuations are best handled by automated algorithms that I don't have, so I mostly dealt with the overall error Ross (ledwhofloyd), April 2024
07/04/81 Casino
08/13/81 Sultan's Pool EDITING: Normalization (max. amplitude 0.0 dB) Tracked Fixed SBEs, Flac'd, tested and created checksums. ISSUES/NOTES: - This was a 2 part rebroadcast in remembrance of Chick Corea - The exact date is unknown to me (could've been the 12th or 13th) - The last songs in both parts are incomplete (the fade out wasn't added by me) - I don't know if more songs were played - There is hiss in almost every track - Radio host talks briefly over the music, before the end of both parts Enjoy! # This recording was made, edited and released by andy988 # Uploaded to Dimeadozen on 20 March, 2021
01/05/85 Blue Note Welcome to Volume 76 of our master series featuring the master recordings of dime member "tapetyrant". The series will predominately feature captures in the Northeast and Southern California areas. We will touch on multiple genres with a strong focus on Jazz Fusion, New Wave and Rock. Tapetyrant was an active taper in the 1980's and much of the 1990's before, like many of us, hanging up the mics. What he captured during that time is uniformly excellent quality and his master tapes have been safely stored, the first batch are in pristine condition. Some shows may circulate from lower generation copies but most have remained uncirculated until now and have never circulated directly from the masters. Prior to DAT, the heavy lifting was entirely done by a Sony D5 with mainly NAK 300's and taping was serious business, acquiring the best seats possible and working to keep neighbors in check. Volume 76 features the 1st set from the Chick Corea Trio, it was quite the day at the Blue Note. There were two early sows from George Benson at 3PM and 5PM (TapeTyrant taped the 3PM show) then stayed to tape this tremendous improv heavy show from Chick's trio. Quality is the usual TapeTyrant quality we've come to expect. Thanks to Goody for always being available for invaluable pitch guidance. Continued thanks to "tapetyrant" for doing such a great job capturing these historic shows, for reaching out and entrusting me to present his excellent work for all to enjoy for decades to come. We are indebted to his generosity (tapers don't let those tapes and your hard work get lost to the ages, there are plenty of folks to get in touch with here to help get them out, we're all working to leave no tape behind). Artwork included as well as ads and a review of the show. mjk5510 and tapetyrant
09/07/85 The Mall Notes: mr_mags shared agalli's first transfer on April 5, 2009. mr_mags comments that The Vigil on that transfer "has a strange repeating passage in the last bit similar to a skipping record", but there is no such problem on agalli's 2025 transfer. This was a benefit show for some kind of event in Washington promoting cultural/religious freedom. Chick makes it sound like it was a multi-day event, or maybe he was just being hyperbolic. Audio quality is pretty clear but hissy. -tracks 1-4 (before cut) were 5.1% fast and tracks 4 (after cut)-6 were 4.85% fast, so speed corrected -automatically balanced levels -phase corrected the channel alignment Ross (ledwhofloyd), Dec. 2025

Chick Corea & Gary Burton --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/04/72 Unknown
03/31/88 Blue Note

Chick Corea & Herbie Hancock --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/09/78 Greek Theatre We were saddened to hear of the passing of jazz great Chick Corea, so this week we dip into the Millard archive to pay tribute to him with this truly outstanding recording from the Greek Theatre in 1979. As Jim R notes below, he and Mike were Corea fans, recording him on multiple occasions along with other artists along the jazz-fusion spectrum. On this night, Corea is joined by Herbie Hancock, and the pair open the show with a piano duet of "Someday My Prince Will Come" followed by lovely, full-band version of Hancock's "Homecoming." From there, the stage is reset to augment the band and Corea leads them through a set of exceptional performances, including long forays into "Mad Hatter Rhapsody" and "Spanish Fantasy." Corea's wife Gayle Moran also takes the spotlight leading and singing "I Loved You Then, I Love You Now." While we routinely wax on about the quality of Millard's audience recordings, this one is truly extraordinary, approaching official release standards, no doubt aided by exceptional sound at the outdoor venue, an ideal taping location and Mike's skills and rig. The respectful crowd helps; can you imagine a modern audience being this quiet when an artist introduces a song? Samples provided. If you're a Corea or Hancock fan, you're in for a treat. If you are merely a Millard devotee, you'l want to hear this one for pure audio excellence alone. Juicy Sonic Magic indeed. Here's what Jim R recalled about seeing Corea at the Greek 1978: Mike Millard and I attended the Chick Corea & Herbie Hancock concert at The Greek Theater on July 9, 1978. Being a laid back show, it was easy getting Mike's equipment in. We sat in row K which is 9-10 rows back. The Greek Theatre is open air with capacity around 5900, very similar to the Universal Amphitheater, which at the time was open air before they put a roof on it in 1982 through its eventual teardown in 2013. Both venues offered excellent acoustics. The sound quality for this show was excellent. Just to give you a little background of the shows Mike and I attended featuring the Jazz/ Jazz Fusion genre: We recorded Return To Forever in 1977 (Vol. 41 in the Lost and Found series). We recorded Chick with Stanley Clarke in November 1978. And solo tours/shows featuring Al DiMeola, Stanley Clarke and even Lenny White all within a year or so. The Corea show at the Greek was wonderful. There was some amazing jamming going on. I took the night off from taking pictures. I hope you enjoy this one as much as Mike and I did.

Chick Corea Elektric Band --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/13/86 Unknown
06/08/88 Greek Theatre Welcome to Volume 70 of our master series featuring the master recordings of dime member "tapetyrant". The series will predominately feature captures in the Northeast and Southern California areas. We will touch on multiple genres with a strong focus on Jazz Fusion, New Wave and Rock. Tapetyrant was an active taper in the 1980's and much of the 1990's before, like many of us, hanging up the mics. What he captured during that time is uniformly excellent quality and his master tapes have been safely stored, the first batch are in pristine condition. Some shows may circulate from lower generation copies but most have remained uncirculated until now and have never circulated directly from the masters. Prior to DAT, the heavy lifting was entirely done by a Sony D5 with NAK 300's and taping was serious business, acquiring the best seats possible and working to keep neighbors in check. Volume 70 features the Chick Corea Elektric Band on a bill with the Headhunters touring behind the 1988 release "Eye Of The Beholder". Once again, we are treated to a performance that appears completely uncirculated in tremendous quality. Unfortunately something happened with TapeTyrant's recording during "Eternal Child" and there was six minutes of silence that we had to edit out giving us only about a minuted of the song. Thanks to Goody for always being available for invaluable pitch guidance. Continued thanks to "tapetyrant" for doing such a great job capturing these historic shows, for reaching out and entrusting me to present his excellent work for all to enjoy for decades to come. We are indebted to his generosity (tapers don't let those tapes and your hard work get lost to the ages, there are plenty of folks to get in touch with here to help get them out, we're all working to leave no tape behind). Artwork included... mjk5510 and tapetyrant

Chuck Mangione --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/05/73 Jazz Workshop Recorded by the legendary Neil Cronin and copied in a trade in the mid 70's to a Sony PR-150 reel. That reel was played back on a Revox A-77 deck to a Phillips 785 stand alone burner in October of '06. Allsoundz may have the master reel.

The Clash --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/27/80 Palais des Sports

Clifford Brown Max Roach Quintet --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/16/55 Newport Jazz Festival

Commander Cody --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/07/71 KSAN Studios

Commander Cody & His Lost Planet Airmen --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
??/??/70 Ludlow Garage
10/02/75 Clover Studios 24/48 flac grner1 notes (2022-02-01): Contains dubbed-in audience track (mostly at the beginning and end). There may be other overdubs because two saxophones can be heard during track 07 (Paid In Advance) and this band only had one sax player. Thanks to professor Goody for verifying the pitch accuracy. Please support the artists and live venues any way that you can. Enjoy and SHARE!

The Congos --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/29/00 SOB's
05/05/11 Live Club

Cream --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/22/67 Ricky Tick 24/96 flac hrough a fellow Soulseek user, I was recently made aware of an Instagram user who had made available the master reels for this, and for the 1967-05-29 Lincolnshire show "Tulip Bulb Auction Hall", which I will post shortly. The best-sounding bootleg of this show - Hiwatt/Scorpio's Ricky Tick - which also features material from other dates as well as, presumably, all other circulating copies of this show, are sourced from this reel. The cuts found in the Hiwatt version are found on the master, sadly. This was the last of Cream's four known appearances at the club, and the recording is incomplete. The show was two sets (confirmed by Eric's comments introducing Spoonful as the last song of the set. NSU was almost certainly played but not recorded: EC mentions it prior to Rollin' And Tumblin'. As we appear to have five songs from the first set, the second set most likely also featured NSU, I'm So Glad, Steppin' Out and Traintime, all of which feature in contemporary set lists, and possibly Cat's Squirrel or I Feel Free. Although the majority of the Disraeli Gears material had been demo'd a month earlier, apart from the opening Sunshine, none of it features in this show, making it the last recording from the Fresh Cream era in circulation. By the time of the Marquee Club show some four weeks later, DG material was well-integrated into the set. The reels were discovered by Clinton Heylin (https://en.wikipedia.org/wiki/Clinton_Heylin) whilst researching a book on bootleg recordings. The master transfer was done by Jeff Friedman (https://dylan.utulsa.edu/dylan80-collectors-roundtable/). I received both recordings as single WAV files, and have made no changes beyond down-sampling (for the 16-bit version), tagging and FLAC conversion. There is a hard cut at the end of Spoonful, which also loses the beginning of SOTOTW. Toad is cut at 10:05, but probably not too much is lost. These cuts are on the reel, so it IS possible that there is earlier generation master somewhere: the waveforms show no interruption at the initial break, which leads me to believe the true master is one generation earlier and would show the taper turning the machine off and back on, but I am not enough of an electronics expert to say for certain. I will post the 16-bit version of the Tulip Bulb show shortly, followed by the 24/96 version.
05/29/67 Tulip Bulb Auction Hall Goody's Notes: The speed/pitch of the source ran a bit slow with the pitch averaging approximately 26 cents flat, now corrected. Some levels were adjusted, with a large amount of extra work in that regard in "We're Going Wrong", and tracking has been updated. Many thanks to all involved in providing this best possible source! Pro tip - listen in phones for suitably trippy stereo panning effects... kudos to the sound engineer. Naick's Notes: Through a fellow Soulseek user, I was recently made aware of an Instagram user who had made available master reels for this, and for the 1967-04-22 Ricky Tick show, which I have posted already. The best-sounding bootleg of this show - HEN's Blues Ancient and Modern - as well as, presumably, all other circulating copies of this show, are sourced from this reel, which is most likely one generation removed from Ian's tape, and the best we are likely to get. Apart from the Introduction, the dropouts and cuts found in all circulating versions are found on this master, sadly, as well as many other distracting artefacts. I present this unaltered, with the exception noted below. From Wikipedia: "Barbeque 67 was a music event held in the market town of Spalding, Lincolnshire, in the East Midlands of England. Despite the presence of many well-known artists among its lineup, the event remains largely unknown. It is considered by some to have been the first rock festival....Towards the end of 1966, Grantham promoter, former footballer Brian Thompson, set about booking Geno Washington and the Ram Jam Band and The Move. Their management persuaded Thompson to also book three relatively unknown acts at that time, being Pink Floyd, The Jimi Hendrix Experience and Cream.[1] The event was held in Spalding at the tulip bulb auction hall, most likely the largest building in the area that could hold a large crowd....Tickets cost just £1 and covered accommodation came in the form of the Spalding Town F.C. stand next door....The Spring Bank Holiday was sunny and hot, which would have been very uncomfortable in a large crowd inside a metal shed. The event appeared to be unorganised and the sound terrible....The two bands grouped under Psychedelic started, Pink Floyd and The Move, followed by the two Blues Rock groups, Jimi Hendrix and Cream....Hendrix had many issues, including tuning problems, was late on stage, meaning only a half-hour set, and finished by throwing his guitar into his speaker stack - the same red Stratocaster he would burn at Monterey the following month. It was widely agreed that Clapton out-played Hendrix that day....The event became a one off in Spalding due to opposition from local residents.....Whilst a groundbreaking event for its time in the Summer of Love ahead of the famous Monterey Pop Festival and possibly the first Rock music festival in the UK, the event remains largely unknown outside of its home. This is the complete recording. The show was one set. The recording, as noted below, is plagued by problems caused by the PA, and contains multiple dropouts and artefacts. I have left the tape as-is, with one exception: immediately following the introduction is a long dropout followed by a brief burst of applause and a further dropout. I have isolated this as Track 02, so those choosing to do so can burn to CD with minimised annoyance. The transition will not be seamless but it's better than what's there presently. I have left the entire tape otherwise untouched, so anyone wishing to remaster it can do so. I received the recording as a single WAV files, and have made no other changes beyond tracking, tagging and FLAC conversion. The reels were discovered by Clinton Heylin (https://en.wikipedia.org/wiki/Clinton_Heylin) whilst researching a book on bootleg recordings. The master transfer was done by Jeff Friedman (https://dylan.utulsa.edu/dylan80-collectors-roundtable/). More information about this show and the festival can be found here: http://www.ukrockfestivals.com/spaulding-festival.html including (uncredited again!) Graeme's notes on the show
10/15/67 Grande Ballroom Geetarz comment: As usual - the best available recording of this performance. Let us all worship Mid Valley! Hail Mid Valley! Originally upped exclusively for free trading and enjoyment by Yours Truly, ECMM Text updated for this edition - May 23, 2025 Goody & Rdwm
03/30/68 State Fair Music Centre revised - Side B speed corrected - tracked Ed June 6th, 2021 Notes: The second tape side (beginning during Traintime) sounds inferior to the rest of the recording. Thanks to June72 from The Dogs of Doom for liberating, to Ed for speed correcting and tracking, and to the original taper.
10/11/68 New Haven Arena "There is a lot of conjecture on the source of this recording. It is believed this is a dub from the master cassette, although I don't have conclusive proof as of this writing. It could very well be as there is no hiss and the dynamic range is superb. It's also believed this is not an audience recording. Rather, it's similar to the gigs at the Eagles Auditorium where microphones were slung over the lighting gear hung over the stage. Clapton is very high and present in the mix, the performance is great and the band is loving it. Listen to the sample! What is known positively is this. Cassette transfer was done at a New Haven recording studio (no names, please) in 2009 "from cassette" as listed on the label of the cdr. Fades and EQ were professionally done at that time by that studio and a very limited number of produced cdr's were passed around to musicians in the New Haven area. Through a musician affiliated with that studio I was able to procure his copy. What you now have is what I got, with one exception. The transfer ran 16 cents too slow, and that has now been corrected." Doinker
11/04/68 Rhode Island Auditorium -48kHz/24bit version - higher quality but NOT burnable to CD-R as is-- Cream's FINAL 1960's LIVE performance. Entire set. Presumed upgrade for this source tape. ----------------------- Total Time ::: 36:31 ::: Non-audiophile but high guitar mix & sure to please some Creamfreaks. Check samples for curdling factors or dollops of sweet Cream. ::: Warts: Somewhat distant, some distortion, some dropouts/dullspots not repairable but fixed a lot. ::: There was an early show at 6:30 & this late show scheduled to start at 9:30. Terry Reid opened. 'Lites' by The Road. ::: Not entirely clear what circulates but I believe this is an upgrade for this source as it is a known 1st gen & has been remastered (without EQ). "Heavy Gague" Mid Valley boot includes this set seemingly of unknown gen. My notes indicate there MIGHT be a better quality second taper source circulating but I haven't located it yet, tho' I may have it on cassette. ::: Better quality than Terry Reid set (probably MUCH louder, especially the guitar!) but vocals very low & there's some distortion, BUT there aren't many vocals as the set is mostly fairly ferocious jamming with guitar way up in the mix.

Crosby, Stills, Nash & Young --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/12/70 Denver Coliseum The year 1970 was a turbulent time for both America and CSNY. Problems for the latter began on April 14 when Stephen Stills crashed his car and fractured his wrist, thereby delaying the upcoming CSNY tour, set to open in San Francisco with a show at Winterland on April 30 (supported, incidentally, by Fairport Convention). Instead, Stills flew to Hawaii to recover. The tour postponement came on the heels of grumbling in the press over "outrageous" ticket prices, topping out at $10. The national mood was no better and turned even darker on May 4 when the country witnessed the killing of four students by members of the National Guard at Kent State University, an event that set the stage for one of Neil Young's greatest songs, "Ohio." And that wasn't all. Shortly after rehearsals began, Greg Reeves was fired for wanting to perform his own songs during the shows. He was hastily replaced by Calvin (Fuzzy) Samuels, the bassist on Stills' recently completed, self-titled solo album. Then, on May 10, Stills was thrown from a horse, tearing a knee ligament only two days before the re-scheduled opening date. After conferring with doctors, it was decided Stills would carry on, albeit wearing a cast, and with that looming backdrop, CSNY took the stage in Denver to finally start the tour. Though praised in the press immediately after, through the passage of time, conventional wisdom around the Denver '70 show shifted dramatically--it has been described as everything from unsteady to disastrous. We'll let you be the judge of that, but the fact remains that the Denver set contains a number of moments that make it highly entertaining. It is, without a doubt, an important part of CSNY history. The first surprise comes with Crosby pulling out the rarely played "Everybody's Been Burned" for its only appearance during a CSNY show. Eight songs in we are treated to the debut performance of Neil's "Only Love Can Break Your Heart," and the twelve-song acoustic set ends with a rousing "Love The One You're With." Due to Calvin Samuels unfamiliarity with the others' work, we get a Stills-centric electric set with four of the nine tracks being Stills compositions. A highlight is the full-band version of Graham Nash's beautiful "Chicago," not played again until the July 5th Chicago show in its more familiar solo version. The surprise in the electric set is the one and only performance to date of Neil's "Everybody I Love You." After Denver, things around CSNY deteriorated quickly, with Neil demanding Dallas Taylor be replaced. The band quickly elected to cancel the next eight dates and resume the tour later in the month. At the time, Nash stated, "The music was rubbish and we knew it. We had to cool ourselves out before we could get back again." Stills, to his credit, admitted being caught up in the fame and limelight, telling biographer David Zimmer, "If a voice of reason could have cleared that fog, we would have realized our full potential and CSN&Y would be mentioned in the same breath as The Beatles and the Stones. We all lost right there, that day, to indulgence. We lost it all." The tour resumed on May 29 at the Boston Garden with a new drummer. The extant recording of this night is typical quality for an early 1970's audie, ranging from a bit rough to pretty decent. There is a marked quality improvement in the acoustic set beginning with Crosby's "Everybody's Been Burned," as if the taper raised the deck or mic creating a somewhat richer sound. That or Crosby was mic'd much better than Stills and Young. These tapes of that same recording came to JEMS from an unlikely source, my neighbor. Somewhere along the way I got into a conversation with him about my hobby and he mentioned how some friends of his had recorded CSNY way back in the day. After probing with a few questions, it seemed likely to be 1969 or 1970. It took a few months, but he eventually handed me a bag of tapes. Inside were cassettes marked Denver '69, Denver '70 and Greek '69. Two of them were on the old green Sony C-90s (see photo in comments), which is the right tape for the era. Another was re-shelled. Could they be master tapes? Maybe, but just as easily first or second gen. That being said, it does seem like this is the closest to a verified source/lineage as we're going to have for the show. Also lending credence to the provenance of these cassettes is the fact that the Denver '69 tape is an upgrade to what's in circulation and the Greek Theater '69 recording, while not complete, does not have the cuts between songs found on the circulating copy, so all three of these appear to be upstream compared to what's around. Case in point, on this new transfer of May 12, 1970, "Wooden Ships" follows "Chicago," but on the circulating version it appears prior to "Chicago." There is no break on this source between the two songs so we believe it reflects the accurate set list for the show. As is often the case with tapes this old, playback wasn't easy. The tapes required re-shelling and multiple playback passes to get the full recording transferred without squeaks and distortion. The result is quite listenable and hopefully offers a modest upgrade to the best circulating version, yielding more of the original recording and less mastering artifacts. Samples provide. Fearlessly treading in to put all the pieces together was Comrade mjk5510, who spent a lot of time on both the audio and the notes you see above. Thanks as always and welcome back to the tax rolls. BK for JEMS and mjk5510
05/29/70 Boston Garden 24/96khz flac

Culture --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/29/88 Bottleneck
02/16/91 Kilimanjaro 24-bit/48k FLAC
02/02/92 Tuxedo Junction
04/15/92 Kennel Club
12/03/95 Variety Playhouse via Lukatherfan: Time to give back some! Been listening to the new 2CD/1 DVD culture anthology and it brough back good memories of seeing Culture at the Variety Playhouse. I recorded this using my first "good" recorder, a Sony D3. Ahhh, the good old days of recording...manually setting levels and stressing out over when to flip the tapes! The Variety Playhouse is still my favorite place on earth to enjoy live music. I saw Culture three times, all three at the Variety. Anyway, hope you enjoy this, this is uncirculated until now. I have recorded tons of shows over the years and will share more when I have time. Thanks to everyone who has shared their own recordings on Dime over the years.
08/24/99 Lupo's

Damian Marley --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/03/17 Mateel Community Center FLAC 16/44.1khz
02/18/23 Marina Green Park

The Damned --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/25/79 Hurray

Dave Brubeck Trio --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/08/74 Symphony Hall 24/96 flac

David Bowie --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/09/76 Forum Beggars can't be choosers. Despite being a serious fan, the one David Bowie tour Mike Millard didn't record was the 1976 Isolar tour in support of Station to Station. To the best of our knowledge, the only extant document of the three-show Forum stand is a partial recording of the February 9 show, pressed on the bootleg Wish Upon A Star. To that we add this previously uncirculated, complete recording of the same show, taped by Millard's friend Ed F. As we have written before, at the time Ed F recorded on lesser quality gear than Millard but still made what I consider very good recordings for the era and the equipment with some exceptions. Regrettably this is one of them. Ed's capture suffers from overloaded levels and severe distortion for much of the show, and the quality is further harmed by an overly enthusiastic audience that is often screaming near the microphone. The result is a muddled, challenging listen, that gets slightly better on quieter songs but is still tough sledding. Samples provided. That being said, it is a new recording of a previously unavailable full show, and as such has merit despite sonic challenges. We assume serious Bowie collectors will welcome its release, flaws and all. The set list for the show is also different from what's been listed on the Internet, with the inclusion of "Diamond Dogs" and the exclusion of "Queen Bitch." Thanks to Professor Goody for navigating the audio mire to come up with pitch adjustments and to mjk5510 for handling post production. We are most grateful to Ed F for loaning us his master tapes as well. BK for JEMS

David Bromberg --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/03/72 DeSoto Hall

David Murray Quartet --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/30/80 Progressive Arts Center's Underground Jazz Fest note: The late and much missed MM more than likely recorded this show from the audience using an unknown cassette recorder. If not, he obtained a copy from someone who did. A copy of his now-lost tape was made using a TDK SA C90 high bias tape. That copy was digitized in 2021.

Delaney & Bonnie and Friends --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/28/69 Circus Krone Bau
02/21/70 Fillmore West

Dennis Brown --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/06/83 Pier 84

Derek & The Dominos --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/14/70 Lyceum Ballroom Comments: - A charity concert for the Dr. Spock Civil Liberties Legal Defence Fund. - The was the band's first live performance. it was included in a folder with another early show so I extracted this and amended the text file as necessary.
12/01/70 Curtis Hixon Hall Notes: Relatively good sound quality for a D&D show. An upgrade over the circulating "Second Source Remix," but it may have some noise reduction in there. And, of course, Duane! Text updated for this edition - February 21, 2025

Desmond Dekker --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/26/95 Unknown
02/16/96 Slim's FLAC 16/48khz

Dexter Gordon --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/27/83 Village Vanguard 113 mins FM A qual. tape labeled as 3/??/1983, maybe a few shows at Vanguard. broadcast Feb, 1987 NPR. flip during drums in t04, t05 seems to just start. t09 cuts, tape runs out.

Dinosaurs --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/15/83 4th Avenue Tavern

Don Carlos --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/09/83 Olympic Auditorium * give thanks to mark persic!!! ** wicked! sweet sound and set!!
03/16/86 Coach House

The Doors --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/13/70 Allen Theatre Transfer notes: This version includes a few extra seconds of Roadhouse Blues where a tape break occurred before the final pass. Tape flip occurs (but is fairly well obscured) during When the Music's Over. Maggie M'Gill has been edited to remove irreparably damaged sections - there is a brief snippet of good audio patched in after removal of 5m41s of unusable audio. Taper's memories: The opening act was 'Eli Radish', a band from the Cleveland area...Jim was wearing black, head to toe... he had a lot of fun and alluded to the Miami concert when said "I've got something to show you tonight, and it's bigger than a breadbox" and was quite sober.... the show was longer than usual Doors concerts....the show ended, we headed for the exits when Jim came back onstage and told some of the motorcycle gang that was in front of the stage to stop people from leaving...Jim said that someone had stolen one of their jackets and then flipped the audience the finger and said 'thanks Cleveland' and went back behind the curtain....we were shocked but it was post Miami, so we were looking at each other wondering if this was over or not....then Jim came back onstage and said there had been a mistake and the Doors wanted to play longer, but their drummer's hands had been taped up....was there a drummer in the house who could play with them....a minute or so later he came back and they had the opening act's drummer playing for them.... at one point Ray Manzarek sat on a chair and played slide guitar on i believe 'Little Red Rooster'....I was only 19 years old and totally sober....don't believe they served alcohol at concerts back then, but I do think I saw the motorcycle dudes carry a case of beer to the front.

Dub Syndicate --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
01/27/96 Slim's A sweet recording from the band's debut United States tour. Enjoy! --mhg :: 2023-09-27
08/07/96 WOW Hall FLAC 16/44.1khz 1

The Eagles --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/08/94 Shoreline Amphitheater Comments: - The information on the dat case shows "1994-05-14shoreline" but there was no show on that date. "Smuggler's Blues" was played 27 times on this tour but only once at Shoreline, 1994-06-08. So I'm going to say that that is the correct date for this show. Thanks to Dick, David and Charlie. edited and mastered SIRMick December 2019

Earl Zero --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/08/80 UC Davis Notes: * This group of musicians clicks really well with Earl Zero, they lock into some really nice grooves. Of this gigs band, only Tony Chin and Lloyd Adams would be in the Earl Zero backing group found in THTP 62, 1980-10-03, about 5 months later. * Terry: "The U.C. Davis Whole Earth Festival... was an outside show, and it was all solar powered." Terry was running the soundboard at this show, not his usual mixing board setup in most of the other releases. * While you can definitely hear the difference between TDK AD and SA tape, the overall sound is really nice. Must have been a warm sunny day. * Terry remembers meeting the bass player for X-Men (THTP 32, 1981-06-01), who was from Davis, and obviously would have been checking out the Whole Earth festival, particularly the music. This may be why X-Men was recorded, since they had actually met and talked a year or so earlier.

Earl Zero and Cornerstone --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/11/80 Savoy Tivoli Notes: * We do not yet know all the names of the members ofCorner Stone. It was a band of local musicians who backed Earl when he first arrived in the SF Bay Area. Anyone know? There is a British reggae group Cornerstone, but that is not this earlier group. There is also a garage rock group called the Cornerstones, but obviously that's a different group too. There's also a british rock/pop group by the same name. But that doesn't help us here. I also doubt that the US Meta & the Cornerstones is related, though they are a reggae group. * And yes, I'm pretty sure that is a reggae violin, which should narrow down the search for who was in Corner Stone quite a bit. A smoking hot violin too, never heard reggae violin before. Worth checking out for that alone, LOL. * This set is a good example of this phase of Earl's music. There's plenty of time to sit back, fall into the heavy rootsman groove, and reflect on I-man's role in the greater order of things.

Eek-A-Mouse --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/10/84 Wax Museum originally transferred and shared by ismokeweed (DIME)
06/16/84 BBC Session - Maida Vale Studio 5 Editing: (1). Tiny fades at the start/end of each track. (2). Samples multiplied by 3.5 (equivalent to +10.88db) (3). handful of FM clicks removed using Audition click removal. Some static and hiss remains - noticable on headphones or during quiet sections.
02/21/89 Chestnut Cabaret
07/31/90 Chestnut Cabaret
01/26/95 Inferno Thanks to Chief and David McGee for the DAT, and Charlie Miller for the transfer. reMaster notes; - stereo image was improved. reMastered by Joe Noel in Adobe Audition October 01, 2021
10/07/00 Starr Hill Music Hall

Electric Flag --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/??/67 Psychedelic Supermarket
05/18/68 The Carousel Ballroom
08/16/68 Eagles Auditorium 24/96 flac Comments: - The Electric Flag also played there on the 17th and 18th and were supported by Silver Apple Notes: - The vocals were quite low in places so I have made them more prominent. - Most of the recording sounds a little muddy so I have eq'd to brighten it up a bit. Pat told me that the soundman hung two microphones over the stage, then ran the cords directly to a reel under the soundboard. The master reel was then played back on KOL-FM - The last two tracks are, for some reason, much clearer than the rest of the show Thanks to Pat Lee for the use of his reel. Thanks to Matt Smith for the transfer. Thanks to Joe B Jones for his help with pitch correction. edited and mastered SIRMick June 2019
??/??/68 Electric Factory

Elvin Jones --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/18/71 Stonybrook University Versions seeded history summary: February 17, 2007: This recording/version first seeded to dime by Kovinis November 18, 2007: Fresh transfer upgrade of only 1 track: "Circle In The Square" seeded to dime by Kovinis (see notes below for explanation) February 21, 2010: New transfer of "Circle In The Square" combined with the other tracks from the first transfer (but maybe missing Fancy Free if the description on dime's history is accurate?) seeded to dime by Kovinis April 19, 2025: michaelmee seeded the first 4 tracks of this version from his CD rip of the original version Kovinis (taper) notes from February 2007: Although this recording has it's flaws, I decided I would put it up for any diehard Elvin Jones and Jan Hammer fans out there. There is some hiss and the reel for disc 2 fades in and out throughout the first half of the 36 minute track. I believe this is probably the only source of this particular concert. I was 15 at the time and walked up to Elvin with one of those old monster Wollensak reel-to-reels. I asked him if I could record the concert. Not only did he say OK, but he placed the single mic on the stage between the band! I wish this concert had taken place about a month later because I was finally able to save up enough money with my paper route to buy a Tandberg 64X and 2 Sony mics. Oh well. I did record Elvin off the FM with the Tandberg later that year. That recording was put up by "mr_mags" awhile back. Kovinis (taper) notes from November 2007: I originally transferred the original tapes with an older Pioneer RT-909. Since then, I have bought 2 superior units and have had them both completely rebuilt with new heads, pinch rollers, belt, etc. I recently re-transferred disc 2 that had a lot of fading in and out, and the results of the new transfer are a much improved sound with very little of the fade problem. Although I re-transferred the complete concert, I found that the only major improvement worth sharing was Disc 2. April 2025 notes: The purpose of this torrent is to add in the missing final two tracks from michaelmee's torrent. I took the first four songs directly from that torrent, and added in the final two tracks that agalli sent me from his CDRs. I think agalli only has the original transfer because the brief "fading in and out" is quite evident on "Circle in the Square". However, Kovinis hasn't logged into dime for about a year now so this version will have to do for now. Dimers, keep an eye out for the upgraded "Circle in the Square" - it's out there somewhere. Oh well - the fading isn't that bad. This just has added CDR generations compared to the original seed, but no edits.

Elvin Jones & Wynton Marsalis --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/11/92 Kimball's East A fine recording from this ensemble's six-night run at Kimball's East. The late show is probably incomplete. Although Rob Darroch made the PCM but there is no evidence of who the taper was. Enjoy! --mhg :: 2025-09-07
12/13/92 Kimball's East The last of a six-night run an Kimball's East. The first set of this recording has circulated since 2005. The second set, which his incomplete, likely has not circulated before. This was sourced from a DAT that likely matches the DAT that circulates (I could not find a copy to compare). Although the DAT recording may have come directly from the soundboard as is claimed, it is more likely that this tape was derived from Rob Darroch's PCM made from the SBD master cassette from Julien, the sound engineer at Kimball's. The audio matches the PCM tape perfectly and the sound quality is identical. What's not clear is why (and how) the recording went from 16/44.056 to 16/48. But it's unlikely that Julien allowed a SBD patch to anyone. Both the PCM and this DAT fade out after about 30 minutes of Set II, and if the rest ever existed, it seemingly does not any more. Enjoy --mhg :: 2025-08-24

Elvin Jones Jazz Machine --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/10/95 Kimball's East Notes: - There were a couple of places where people in the audience started talking above the level of the music so I took them out. - I have brought up the talking at the beginning and between tracks as it was very low and unhearable. Thanks to David Gans for this wonderful recording. Thanks to Charlie Miller for the transfer. edited and mastered SIRMick April 2020

Emmylou Harris --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/14/76 My Father's Place Goody's notes: This was discovered to be a mono recording. The left channel was the stronger of the two, and was chosen to be copied/pasted to the right channel. Many thanks are due to Jerry Moore and Rob Berger for circulating the source of this edition. Text updated June 1, 2015

English Beat --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/14/82 Hollywood Palladium
08/23/82 First Avenue This is straight from the mastertape. I have not done any EQing, filtering, editing, or any kind of tampering with the sound. I don't put sound ratings on these uploads -- I'd prefer to have somebody independent (such as yourself) judge that. So, after you've downloaded and listened, post a comment on the sound quality. Minnesota Mike made audience recordings of shows in the Minneapolis/St. Paul area between 1978 to 1985. He used a stereo Sony TC-D5 tape recorder and two Shure studio microphones, top-of-the-line equipment in those days. He recorded shows just for himself and never made copies. I met him years later and he allowed me to trade tape copies around 1993. Later when the technology became available, I traded some on CDR. So some of the copies that are out there are second generation or more, and some are digital copies of the master. I wasn't a very active trader and, in fact, some of Mike's tapes have never circulated. The digital copies I'm uploading now were made in 2006 with azimuth adjustments on the tapedeck and a Terratec EWX soundcard to the computer.
03/15/83 Washington University
04/23/83 Agora Ballroom Welcome to Volume 47 of our master series featuring the master recordings of dime member "tapetyrant". The series will predominately feature captures in the Northeast and Southern California areas. We will touch on multiple genres with a strong focus on Jazz Fusion, New Wave and Rock. Tapetyrant was an active taper in the 1980's and much of the 1990's before, like many of us, hanging up the mics. What he captured during that time is uniformly excellent quality and his master tapes have been safely stored, the first batch are in pristine condition. Some shows may circulate from lower generation copies but most have remained uncirculated until now and have never circulated directly from the masters. Prior to DAT, the heavy lifting was entirely done by a Sony D5 with NAK 300's and taping was serious business, acquiring the best seats possible and working to keep neighbors in check. Volume 47 features a dance party with the English Beat at the Agora in West Hartford, CT supporting their ska masterpiece "Special Beat Service". This show appears to be a completely uncirculated performance. REM opened but unfortunately was not taped due to TapeTyrant arriving late to the show. Thanks as always to Goody for the invaluable pitch guidance. Continued thanks to "tapetyrant" for doing such a great job capturing these important shows, for reaching out and entrusting me to present his excellent work for all to enjoy for decades to come. We are indebted to his generosity (tapers don't let those tapes and your hard work get lost to the ages, there are plenty of folks to get in touch with here to help get them out, we're all working to leave no tape behind). Artwork and samples included. mjk5510 and tapetyrant

Eric Clapton --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/09/75 Frost Amphitheatre, Stanford University During "Better Make It Through Today" at 6:45 there is a 1 sec. drop out in the right channel, then there is a mic issue and cable rumbling in the right channel up to 8:43). The stereo imaging for these two minutes is noticeably different.
08/03/76 ABC Theatre Known Faults: -Stormy Monday: almost seamless splice This one comes out of my own archives and originates from Jamie Oldaker's reels. A close friend got a number of shows directly from Jamie and I made a copy off his 1st gens in the mid 1980's. The most commonly circulating versions appear to be either be missing "Blues Power" entirely or it is cut. "Blues Power" is complete here and it's a scorching albeit somewhat mellow version. I'm not sure if this is the first time "Blues Power" has circulated complete but it is likely the first time from this low of a generation copy. Eric is full of piss and vinegar on this night, starting the show off by challenging a yelling audience member to "come up on stage and talk about it" followed by some expletives and then telling him "I'll have you...". This is show also immediately precedes the unfortunate political rant at the Birmingham show two nights later which EC ended up writing an apology letter for printed in the September 11 edition of 'Sounds'. Something definitely had EC wound up the early part of this tour or perhaps just too much drink. The circulating version runs just a touch fast, this version is pitch adjusted to run at the correct speed. Samples provided as well as artwork for this new version... mjk5510

Ernest Ranglin --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/04/13 Sweetwater Music Hall

The Faces --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/25/72 The Hollywood Bowl JF was also an active local tape trader at the time and this release comes from one of the many trades he made in the early ’70s. It is an upgrade (to our ears) of the well-known recording of the Faces at Hollywood Bowl in the summer of 1972. The show circulates in at least two versions: one is a rip from a Midnight Dream bootleg CD; the second was posted on DIME by Lucifer Burns in 2010 as “unknown low gen” from the “Per-Erik collection.” The former is quite low-fi; the latter is better and sharper but has a lot of tape hiss. This new transfer, from JF’s vintage reel-to-reel, offers the clearest and fullest sounding version yet, with less native hiss (no noise reduction was used on the transfer). I suspect it is at least two generations closer to the master than the Lucifer Burns/Per-Erik source. And for a 1972 audience tape it is very listenable and sounds like it was recorded close to the PA. Ron Wood’s guitar really leaps out in spots and Rod Stewart’s stage patter is both charming and easy to understand. It also lacks a lot of the cuts found on many tapes of this era. Amazing on some level that at this point, when Rod introduces “Maggie May,” the audience doesn’t know it yet. Proper finishing on this one is courtesy of frogster, who continues to help keep the JEMS Archive flowing. Our heartfelt thanks goes to JF, who reached out on DIME (you could be next!) and offered us his archive, which had been sitting in boxes, 6000 miles away from where he lives today, for 20+ years. Like so many early tapers, he had great stories to tell and the memories flooded back as we sorted through tapes. We are pleased to be able to bring his work to all of you. Please let him know through your comments that you are, too. BK for JEMS

Fela Kuti --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/06/86 The Opera House comments: there are a few parts of this where one channel dropped out or had chord/static problems. I monoized those sections so it is all clear 2 channel sound (mostly stereo). this was recorded very close to the stage, maybe even front row. there are a few tape flip cuts but none of the cuts are very noticable after seamless splicing. the last song has a tape flip cut during the spoken introduction and cuts into the beginning of the song. probably just a few seconds were missed there. tracks 4 and 5 are cut near the end of each song. there is a little bit of distortion in a couple of the loudest parts, although the master tape and the WAV files these flac's come from do not have any saturation or "clipping". most of it sounds clear and quite listenable. this is one show that could have used a 100 for the 1st set, that probably would have prevented any flip interruptions, but it's still a nice listen and probably within just a few seconds of the whole long show.
11/15/86 Olympic Auditorium 16/44.1 flac
11/15/86 Olympic Auditorium
08/14/87 City Broiler 16/44 flac "No known lineage but sounds really close to the source. I have noticed the shows from Detroit, Berkeley & San Diego here as well as the Fela Fever over the recent Berlin & Paris uploads. This show is nothing rare but I hope that dimers dig it. enjoy" mr_mags
09/26/89 Chestnut Cabaret
07/26/91 Zellerbach Hall

The Fixx --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/30/84 Universal Amphitheatre JEMS' latest series presents new transfers of master recordings made by SoCal-based taper Rick L who was active in the early '80s. While he was a fan of bands like Yes and taped them on more than one occasion, his tastes were eclectic and of-the-moment, ranging from new wave artists featured on KROQ-FM to reggae and jazz acts. So while he didn't have Millard-caliber equipment, he did cover many shows not recorded by Millard or others who leaned towards the classic rock end of the spectrum. We'll be presenting the best of his work and his collection over the course of this year. Vol. Five reflects the aforementioned KROQ influence with The Fixx, on tour in support of their third album Phantoms, released in August. Not to be confused with a host of one-hit '80s wonders, The Fixx had a legitimate string of hits and I was reminded how many of these songs I knew, including "Stand Or Fall," "Are We Ourselves?," "Reach The Beach," "Saved By Zero," "One Thing Leads To Another" and "Red Skies," all of which feature here. This is the best recording to date in the Rick L series, with impressive clarity, fullness and closeness. Any fan of the Fixx should enjoy this fine capture. Samples provided. We want to thank Rick for lending us his tapes and allowing us to share his work with the DIME audience. Please let him know your appreciation via comments. Also supporting the series are JEMS' frequent collaborators Professor Goody, who prescribed proper pitch adjustments, and mjk5510 who took care of post production. BK for JEMS

Fleetwood Mac --- Approximate Hours: 2.5
Show Date Venue Media Type Media Count Sound Quality Notes
07/??/68 Fillmore West Compilation LAST SHOWS AT THE FILLMORE AUDITORIUM BEFORE BILL GRAHAM MOVES THE OPERATION TO THE FILLMORE WEST FORMERLY KNOWN AS THE CAROUSEL BALLROOM FLEETWOOD MAC WERE A LATE SUBSTITUTE FOR THE BAND THE TRUTH ON A BILL WITH THE BUTTERFIELD BLUES BAND, TEN YEARS AFTER AND THE HOLY SEE SO THEY ARE NOT INCLUDED ON THE POSTER
09/26/69 Pavillion Gardens MANY STOPS AND STARTS ON THE MASTER SO SOME SONGS ARE CUT
10/09/69 Grugahalle
12/12/69 Municipal Auditorium via davmar77
01/02/70 Fillmore West FLAC 24/96khz 1
01/17/70 Eagle Auditorium Darrell F.'s 1st gen cassettes made from Howie's master reels. Unfortunately the reels are no longer with us so these are the best copies left of Howie's recordings. This particular recording along with many other Eagles Auditorium shows broadcast on KOL-FM if circulating from Bill B.'s reels will definately either be sourced from Howie's masters or Darrell's 1st gens so these may or may not be an upgrade to existing Eagles broadcasts from this time period if can be traced back to Bill. The recording may switch from stereo to mono periodically since reception wasn't the greatest from where Howie lived at this time which was in the extreme southwest of Seattle over a hill. Through the years people have questioned whether these recordings are truely soundboard or audience recordings and the answer is they are a hybrid of both. The recording sounds great but this is bittersweet moment in the band's history since it was at this point Peter Green's eccentricities were taking over which would lead to him leaving band only 4 months later. Here is some more background info on these recordings from Pat L. "All were broadcast on KOL-FM on their program called "Great Nights at Eagles". It ran on Sunday evenings and the host was a UW professor named John Chamblis. He borrowed the reels (or had copies) from Mike Reed who had recorded them and was selling copies at the time and was hoping these KOL broadcasts would generate some interest in his venture. The tapes were recorded on a reel at the soundboard. The input was two microphones hung over the stage, which accounts for the somewhat funky sound--not quite soundboard, but not quite audience."
09/22/77 Cobo Arena 16/44.1khz FLAC 1

Fleshtones --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/12/77 Max's Kansas City "Grape notes": Any help with the missing song titles will be greatly appreciated. The other act for this night at Max's Kansas City was Wayne County and that is also being shared. This is being offered as both 16/44.1 and 24/96 file sets for those who care about one or the other or both. Please support the artists and live venues any way that you can. Enjoy and SHARE!

Flock --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/27/69 Mile High Stadium Denver Pop Festival CoolSonics 228 ::: Thanks to the original taper & traders! My copy from that fine musicologist, GS - Hopefully he is doing well wherever he is in the world. ::: Corrections welcome ::: I have all the recordings of bands from this Festival this source made, some 1st gen. & some 2nd. The ones not commonly around I will try to finish mastering & upload to yr ears in the near future. While never a huge fan of horns (with some fdefintie exceptions), Here's a band that blew my mind when I heard the first album, courtesy of The Record Club Of America. Knocked me out completely. My friend Mr Heister used to rave about seeing this band live (which he did on a number of occasions). Sure wish I had... The Denver Post review of this set at Denver Pop said, "The Flock "took off with the freakiest sounds of the night", which says a lot if you remember that Frank Zappa & the Mothers went on 2 bands later... What we have here is pretty smokin' though reckon it's only half their set... but half is certainly better than none & it's from 1969, presumably only a couple of months after the release of their first album. Enjoy!

Flying Burrito Brothers --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
04/06/69 Avalon Ballroom 16/44.1khz FLAC 1 From the collection of Rob Berger

Frank Zappa --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
01/31/69 War Memorial Auditorium I recently corresponded with Denny Sanders regarding his Soundcloud post of his much dreamt of - and suddenly available after 54 years! - recording of the January 31, 1969 Boston Globe Jazz Festival performance by the Mothers of Invention with guest Rahsaan Roland Kirk. Soundcloud rips of Denny's recording yield at best a 128 kpbs / MP3, which I was hoping was just a lo-fi preview of this precious recording which would one day become available officially or elsewhere in more robust fidelity. No such luck, says Denny: "The recording which I have is an MP3 dub of the original tape which has pretty much disintegrated." "I was in touch with the Zappa estate some time ago offering the recording gratis for their own release but have received no reply. This MP3 is the only surviving recording, as the original tape has been damaged. I am sure with today's sophisticated technology this posted mp3 recording can be enhanced if an organization would be willing to do it. I have no desire to make any money off of this and only want Zappa/Kirk fans to enjoy the music of two great artists who are no longer around. The only thing that I would want would be a credit for supplying the recording if some commercial release was initiated. I don't know if this would help, but I can send you a thumb drive of the mp3 and you can do what you wish with it, try to enhance it professionally, etc. If you are tight with the Zappa estate, you can offer it to them with my compliments. If there is any official release, I would only request a credit "Recording courtesy of Denny Sanders"." Much to my delight, I received a flash drive from Denny with a 192 kbps / MP3 copy of his recording: the best available version and source material for this Zappateers upgrade. I asked Denny if he had done any other illicit recording, FZ or otherwise. Denny: "As far as other tapings go, I did manage to sneak my recorder into a Laura Nyro concert at Boston Music Hall in 1970. That is posted on SoundCloud as well: https://soundcloud.com/user-100188942/laura-nyro-at-boston-music-hall-10-25-70" enzothebaker, November 17, 2024
03/07/70 Olympic Auditorium 16/44.1khz FLAC 1 Another gem from the TMOQ vault. Audacity was used to clean up the dropouts and other unwanted noises. Individual claps were removed or attenuated between songs to make this even more enjoyable. No Eq or noise reduction (except the Dolby B). Some slight crackling can be heard in places. Mike Martin FLYING M PRODUCTIONS
05/20/73 Civic Center father-0blivion Notes, October 2025. This show was originally published as "1973 05 xx Unknown Venue". Thanks to DocSock, who found a newspaper article containing a review of the show, this has now been identified as being from Providence, RI on 20 May 1973. This update is to change the folder and file names to reflect this new information and also includes a scan of the newspaper article.
11/14/73 Masonic Auditorium FLAC 16/44.1khz 0 C+
10/04/75 Paramount Theater JEMS master recording. This is a good/very good sounding recording and all music is complete. As with most Zappa shows the performance is excellent at this show with some of Zappa's best guitar work of the night on Chunga's Revenge.
11/29/80 Uptown Theatre

Freddie Hubbard --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/26/72 Jazz WorkShop
05/01/73 Unknown mgoldey's original notes: Performed shortly after the release of Skydive, this was broadcast as part of WBCN's Jazz Week, which ran through Sunday, May 6, 1973. More info here, if you care to visit MIT in person: https://archivesspace.mit.edu/repositories/2/resources/885. This is just an hour of the performance, the part that was broadcast. There was more, but it's not clear how much more. The recording suffered from occasional FM static, which came and went as if the tuner was drifting from the signal. Removing that static with the Ozone RX 7 Spectral De-Noise plugin also eliminated the analog tape hiss, and isn't my favorite thing to do. But the result is very clean and clear, and really didn't lose anything. Other snits and warts removed and repaired. The occasional "pop" may be a drum beat. Sometimes, I couldn't tell. It ain't perfect, but it's pretty darn good. Goody's notes: Additional static removal/reduction and click/pop removal in this updated edition in tracks 2 and 3. All tracks were slow/flat, now brought up to the correct speed/pitch. The Quintet is introduced as: Freddie Hubbard - Trumpet, Flugelhorn Junior Cook - Tenor Sax George Cables - Fender Rhodes Kent Brinkley - Bass Michael Carvin - Drums Enjoy! --mhg :: 2020-11-15 --goody :: 2021-01-09
10/09/73 Jazz WorkShop
04/??/74 Jilly's
??/??/84 Tralfamadore Cafe comments: 54 mins FM A- quality due to FM static.

Freddie McGregor --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/08/85 Belly Up Tavern
04/16/00 Higher Ground

Garcia --- Approximate Hours: 6.25
Show Date Venue Media Type Media Count Sound Quality Notes
10/08/68 The Matrix Thanks to Will Boswell for providing this source and Matt Smith for the transfer. edited and mastered SIRMick April 2018
10/10/68 The Matrix
10/30/68 The Matrix 16/48khz FLAC 1
12/15/70 The Matrix
05/20/71 Keystone Korner 24/96khz FLAC 1
09/25/71 Lion's Share 24/96khz FLAC 1 A
01/20/72 Lion's Share
01/26/72 Symphony Hall
09/30/73 Community Center 24/48khz FLAC 1 A+
12/28/74 Golden Bear
12/29/74 Golden Bear
12/31/75 Keystone
01/09/76 Sophie's Cassettes rescued from ebay, from the collection of Steve Brown (GD employee), tapes were marked "Brown's copy", and are presumed to be 1st-Gen.
01/10/76 Sophie's Cassettes rescued from ebay, from the collection of Steve Brown (GD employee). Tapes were marked "Brown's copy", and are presumed to be 1st-Gen.
05/23/76 Santa Monica Civic Auditorium Andrew F. finds a Jerry Garcia Band recording on e-bay and In July of 2018 he shares it at LL mentioning that "there are no other known recordings of this show". Turns out this was one of our recordings and Allen was able to find the master cassettes and send them to me. Thanks to Andrew as I was not aware that we made the only recording of this show. Not a "hi-fidelity" stereo capture but it is nice and clear without a lot of distortion and direct from the master tapes transferred using quality equipment. And may I add, with love and care as this was the first time I saw Jerry play. We should have brought a 3rd cassette. By the second set we knew we were going to run out of tape so we started using the pause button between songs. This resulted in us missing the beginning notes of the next song. As it was we still ran out of tape and that's me signing off as the clear leader started to unwind. Performed an end to end clean-up of bumps, clunks & clicks using iZotope RX6 advanced. Reduced loud clapping, whistling and chatter where possible. Spot repairs so just the loudest noises were removed. Spliced tape flips and blended the places where Allen was a moment slow at releasing the pause button. Inserted additional applause from the first set to smooth out some of the abrupt breaks in the second set. No eq or noise reduction was used on this. Special thanks go out to Allen Tarzwell for sending me his masters Thanks to Cathy and Dulcy for putting up with us recording the show and ignoring them. Ticketmaster made "Gary Garcia Band" tickets for this show and a copy is included. Thanks to JGMF for supplying the "stultifying turtles" show review from the L.A. Free Times. Trivia fun: This was the last JGB show before the GD's hiatus came to an end. For historical reference only and not intended for resale or any commercial use Enjoy… -M- (October 2018)
07/08/76 Keystone - Thanks to Bob Minkin for the source cassette - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Seaweed1010 and Andrew F. for the shnid110474 soundboard source which supplies "Catfish John", "Sugaree", as well as the final 1:54 of "Who Was John?" - Thanks to Jim Powell and Chris Ladner for the shnid22510 soundboard source which supplies the final 2:13 of "Stop That Train" - Thanks to Joe B. Jones for his assistance with the pitch correction - It's doubtful that "Stop That Train" ended the show Mastered by Scott Clugston January 2018
07/09/76 Keystone 24/96 flac * Recorder was stopped and started between every song. Many minutes of crowd noise in between songs was removed.
07/20/76 Keystone 16/48khz FLAC 1 edited and mastered SIRMick April 2019
11/12/76 Freeborn Hall (U.C. Davis) Notes: - Thanks to Reinhart Holwein for the 1st set master cassette - Thanks to Bob Menke for the 2nd set 1st generation reel of Reinhart Holwein's source - Thanks to Bob Menke for the fresh transfer - Thanks to Charlie Miller for coordinating this effort - Thanks to Joe B. Jones for his assistance with the pitch correction Mastered by Scott Clugston January 2026
??/??/76 Unknown Studio Notes: -- I received this many years ago but have no info -- There's different keyboard players throughout the session -- Thanks to Joe Jupille for his help with this project
07/30/77 Theatre 1839 - Thanks to Bob Menke for the master cassettes and transfer - Thanks to Charlie Miller for coordinating this effort - Thanks to Joe B. Jones for his assistance with the pitch correction - Thanks to the folks at "Jerrybase" for the particulars
12/04/77 The Barn (Rutgers U.) Notes: - This source does not have the CD-R generation present in source ID 13819. - 'Here Comes the Sun' riff in 'Stir It Up'. - There's the tiniest bit missing from the beginning of 'The Harder They Come' and 'I Second That Emotion'. 16 Bit 48 kHz FLAC Level 8
12/04/77 The Barn (Rutgers U.)
02/19/78 Santa Cruz Civic Auditorium Source IDs 155924 and 155925 have a mistake in them, user error on my part. A stray chunk of audio from Mystery Train audience source was left in the patching multi track under a section of Don't Let Go. This was mixed into the music by accident and we had to redo the source. My apologies. Please don't circulate those sources. - Jamie
11/03/78 Keystone Palo Alto
02/27/79 Keystone
03/07/79 Rancho Nicasio originally shared at www.shnflac.net Notes: - This version has been provided by an anonymous source.
07/20/79 Rio Theater Tape was paused between some tracks but no music is missing.
03/07/80 The Stone Source Notes: Cassette rescued from ebay, this unlabeled tape was found in a lot of Betty tapes, it's likely a SBD master. The tape was in a box marked "GD 5/2/80 Tape #1"; to borrow a phrase from JGMF, this is one of those JGB SBD's that "walked out the door". Mono-mixed patch from ID-14594 covers drop-out TWLWMYD 8:17 > 8:45. Some tunes cut-in abruptly as the deck was un-paused, small fades added.
07/24/80 Bushnell Auditorium
07/26/81 Keystone
09/07/81 Concord Pavilion .mov 3/4" Umatic Master-> Hi Def H264.mov (1280x720 29.97fps) Notes: This was recorded after the so-called holy grail MTV interview was finished at The Concord Pavillion. Unlike the footage now circulating of that interview, this has no timecode stamp or Getty watermark and its virtually perfect quality. This is also not included in that footage. Short and funny! -Alan
12/18/81 The Stone
01/13/83 Keystone 16/48khz flac
07/24/83 Nevada County Fairgrounds
08/03/94 Giants Stadium

Garcia & Saunders --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
07/10/73 Keystone 24/96khz FLAC 1 B+

Gary Burton --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/16/74 Lisner Auditorium from "DC" our anonymous donor: Gary Burton Quintet, Lisner Auditorium, the George Washington University, Washington DC, October 16, 1974. Burton played vibes, Mick Goodrick and a very young Pat Metheny played guitars, Steve Swallow played bass, and Bobby Moses played drums. From the master cassettes. Recorded from about halfway back in the main center section of the auditorium, using an inexpensive Panasonic mono recorder with ALC and cheap Ampex tapes. The original tapes cannot be located and only the second half of the set was transferred to digital sometime early this century.

Genesis --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/13/72 Philharmonic Hall
07/02/76 Philipshalle
01/01/77 Rainbow Theater That gig was special in the Genesis history for various reasons: it was the first gig of the W&W tour and also the first with Chester Thompson sitting on the drumkit. The setlist was also still in progress: while some some songs were performed on this show (Lilywhite/Wot Gorilla) others lasted only the UK branch of the tour (All In A Mouse's Night) and in any case the setlist had songs in a strange order with the opener as 11th Earl instaed of Squonk (who even got an introduction here which is very rare). This show is circulating already but the version I have seem different. Probably not better, not worse just different, maybe a bit more clear. I have patched three short fragments from the "The Rainbow Audience" source that were missing on this version. The show is excellent though. ldb
05/21/77 Ginásio Do Ibirapuera

George Adams & Don Pullen Quartet --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/20/83 The Village Vanguard notes: Based on the audience reaction to Adams' reference to Saturday night on track 9, it appears that this performance may have been broadcast on a Saturday night. The Italian Soul Note label recorded two LPs worth of material on August 19, 1983 (https://en.wikipedia.org/wiki/Live_at_the_Village_Vanguard_Vol._2), which was a Friday night. The track lists of these LPs do not overlap with the track list of this performance, with the exception of Intentions and Big Alice, and, possibly, of Saturday Night in the Cosmos. A side by side listening comparison of the Intentions on the LP and the one on this broadcast reveals that they are not the same performance of this piece. While the LP versions of Big Alice or Saturday Night in the Cosmos were not available for comparison with track 9, the LP versions are not the same length or sequence as track 9. This evidence suggests that this live broadcast may have taken place the night after Soul Note recorded the material for its two LPs. note from c: I just compared and they're not the same performances.

George Benson --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/20/73 Jazz Workshop Also circulates as Feb. 27 but missing the last two songs. Feb. 20 is correct. The Feb. 18 Boston Globe contains a panel ad for Jazz Workshop listing George Benson Quartet from Feb. 18-25, and a band called Deodato performing "2001: A Space Odyssey" the week of Feb. 26. During this performance, Benson states that he is "playing here through Sunday." which would have been 2/25. Finally, WBCN's Jazz Workshop broadcasts were usually on a Tuesday, which would have been Feb. 20. (Feb. 27 may have been a WBCN broadcast date?) This recording is more complete and richer sounding that the circulating FM > R(x) > Akai GX4000D recording dated 2/27. Like that one, however, this recording has some FM noise and some analog tape hiss. Both have been diminished, just a touch, and some particularly loud pops, crackles and snits eliminated. The remaining blemishes are still noticeable during quiet passages. Track 10 may be a very short version of a song called "Some Blues." Band introductions begin about 25 seconds before the end of that track. The drummer's name is a best guess. Enjoy! --mhg :: 2020-10-16

George Harrison --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
11/04/74 Seattle Center Coliseum Many consider Stan’s Seattle recording to be the best available document of George’s ’74 tour. With this new transfer, it has never sounded better. Samples provided. Here’s how any earlier torrent of the Seattle recording and show described it: “The second show of George Harrison's ill-favoured 1974 North American tour, and the earliest to be circulated in its entirety. Occurring before the negative reviews/feedback started to come in (which seems to have started from the next show in San Francisco, where there was presumably more media scrutiny), the show is more upbeat than most from the tour. Clean and clear-sounding audience recording.” Another review says, “"A truly wonderful set, much better than the alleged ‘best’ concert from Baton Rouge. The extended workout on "Hari's on Tour (Express)" is missing from later shows, and the musicians' excitement during the first songs is really palpable. It's also interesting to hear the long intervals between George's and Ravi's set. Not soundboard, but very good sound indeed. A winner, as far as I'm concerned." Given his body of work in the ’70s and ’80s, I have come to think of Stan as the Mike Millard of Seattle, just as our late, great partner Jared was the Mike Millard of Detroit. Stan and Millard were actually friends and met up in California on two occasions, comparing notes, swapping tapes, game respecting game. Stan got me into this hobby, taught me everything I know about taping and generously put his remarkable recordings into the JEMS collective. He is currently struggling with a major health issue and in the Christmas season, every good wish helps, so please send some Stan’s way. He is truly a pioneer in the field and as this recording shows, his work stands up to the best in the game. Thanks to Stan, Jared, mjk5510 and everyone in the extended JEMS family for another year of preserving the history of live rock concerts. BK for JEMS
12/16/74 Spectrum FLAC 24/96khz 1

Ghosts/Heart of Gold Band --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/16/80 The Catalyst Notes: A relatively good stereo audience recording in a small venue. The only other May 1980 Keith & Donna band show in the etree database is listed as by The Heart Of Gold Band, but Bob Gurman’s first generation reel copy is notated as The Ghosts. I’m sticking with that notation until the master or an advertisement surfaces that indicates otherwise. The first song begins in progress. This show is new to circulation as of January 2021 - Alan Bershaw

Gladiators --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/04/87 The Channel t12 has a fade-in, t14 fades out at tape end. there may have been a last song after this. 90 minutes. enjoy!

Good Old Boys --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
10/25/75 Houston Hall 24/48khz FLAC 1

Grateful Dead --- Approximate Hours: 13.75
Show Date Venue Media Type Media Count Sound Quality Notes
11/18/66 Fillmore Auditorium
08/05/67 O'Keefe Center Mastered by Charlie Miller charliemiller87@earthlink.net January 16, 2026 Notes: -- This is a remastered version of shnid=169430 and shnid=16753 -- There is a tape flip in Turn On Your Lovelight -- Thanks to Brian Flegel and Steve Ciaffa for the original source -- Thanks to Hanno Bunjes and Uli Teute for the patch source -- Thanks to Joe B. Jones for the pitch correction settings
02/07/69 Stanley Theater (Early, Late)
03/28/69 Student Center, Modesto Jr. College 24/96khz FLAC 1 A
03/29/69 Ice Palace
04/04/69 Avalon Ballroom Notes: -- This is a remaster of shnid=1314 -- All sources used for this originate from Dick Latvala -- There is still an unptched section in DDHNM -- Thanks to Joe B. Jones for confirming the pitch
04/06/69 Avalon Ballroom 24/96 flac
04/11/69 University Auditorium, U. of Az. Notes - upgrade to circulating shnids, which all come from Jim's DAT - The beginning of show is missing, and the setlist is also uncertain for that portion, perhaps opened with Morning Dew, Sittin' on Top of the World, Cryptical > Other One > from show reviews - Main Ten jam in Dark Star
01/02/70 Fillmore East - late show 1
02/02/70 The Fabulous Fox Theatre
02/13/70 Fillmore East (Late Show) FLAC 16/44.1khz 1
02/23/70 The Auditorium --- This is not the complete show --- The "mild hum" has been carefully attenuated --- I Know You Rider cuts in at "The sun will shine in my backdoor someday"
03/01/70 Family Dog at the Great Highway - Thanks to Mark Terry for the 2nd generation source cassette recording - Thanks to Charlie Miller for the transfer and coordinating this effort - Most of the songs are clipped at the start, "New Speedway Boogie" (possibly a soundcheck of some sort?) and "It's All Over Now, Baby Blue" are clipped on both ends - There has been no noise reduction or equalization applied to this source. Except for some level tweaks and smoothing of abrupt transitions, this is what is on Mark's cassette - sing-a-longs, whoops and hollers, mic bumps, coughs, etc., warts and all - "King Bee" is missing - First audience recording in general circulation for this date - Thanks to Joe B. Jones for his assistance with the pitch correction Mastered by Scott Clugston May 2025
03/21/70 Capitol Theater (Late) ::: Middle o' the road AUD quality for the era. Check samples for disillusion or illumination. ::: Warts: Taper turned off recorder between songs & there are some late starts. #03 fades in & has splice in middle. "St.Stephen" cuts. Clapping in many places & some mike noises. Dropouts & dullspots & other issues not addressed, so they be here. ::: UPGRADES shn 118670 (CoolSonics 108) as this is mostly master tapes & has no cassette gen or Dolby in M1 part. ::: NOT the Recorder 1 "Ken & Judy Lee Port Chester Resurrection Project" source. ::: NOT the Recorder 2 "Jim Cooper" source. ::: At the time of this transfer, the last reel could not be found, so #14-17 are from an M1 reel. ::: Catfish with Bob Hodge opened the late show. A recording exists from this taper & now circulates. ::: Comments on Deadlists & db.etree.org say 'Friend Of The Devil' has different lyrics & 'Wake Up Little Susie' was an AUD request. ::: As Jerry calls 'em at one point, the audience is a bunch of "unruly freaks"! Just havin' a good time, you'll hear 'em. ::: Likely there are patches or possibilities to combine this with the other 2 sources in some way, so here 'tis.
04/09/70 Fillmore West
04/25/70 Mammoth Gardens shnf
06/24/70 Capitol Theater (Late)
07/12/70 Fillmore East FLAC 16/44.1khz 1
10/17/70 Cleveland Music Hall
11/20/70 The Palestra, U. of Rochester Notes: This may only be of interest to the hardcore Grateful Dead collectors out there - especially those who love their 1970 era. Thanks to my friend Doug, who has been scouring and preserving private collections in the Rochester, NY area for many years, we're sharing this newly discovered source of Bob Stone’s hand-held audience recording of the November 20, 1970 Grateful Dead concert at The Palestra. Unlike what has been circulating for decades, Doug's new transfers are NOT sourced from Marty Weinberg’s reel copies, but from an alternate and substantially different sounding Beta HiFi tape copy that had never been transferred or circulated before. While generally inferior to the known source and not without issues of its own, this new transfer has several things going for it, including additional material unavailable on previous versions of this show (including more of ‘Cold Rain And Snow’, ‘St. Stephen’ and 'King Bee') and it was not EQ’ed during playback. The source of this Beta tape suffered from vacillating speed issues, some of which were extreme. These have largely been corrected, but some speed instability issues remain. It does not suffer from any “radio interference” or several other anomalies that have been noted on previously circulated copies and it is sequenced differently, which I believe makes more sense and is closer to being accurate. The Jefferson Airplane performed at the War Memorial in Rochester that same evening. Following their concert, Jorma Kaukonen, Jack Casady (and according to some accounts, Grace Slick) headed over to the University of Rochester campus, arriving around 2:00 a.m, as the Dead were winding up their 2nd set. Their arrival motivated a 3rd set of oldies and spontaneous jamming, with Jorma joining in on all of it (and Jack possibly joining in for some of it), which according to first hand reports ended in the 3 to 3:30 a.m. range. Like all other copies, the initial pre-drums portion of ‘Good Lovin’ is missing, as is part of ‘The Other One,’ which are presumed not to have been recorded or lost during tape changes. Bob Stone either did not record the New Riders Of The Purple Sage opening set, or possibly recorded over it, to facilitate recording everything else. In an effort to save tape, Bob also paused recording between individual songs, which allowed him to get as much music as he thankfully did. While this alternate source will primarily appeal to completists and those who can still enjoy 1970 audience recordings, this also has portions that I find superior to previous versions, like the “Jam > Darling Corey > Jam” sequence with Jorma Kaukonen joining in, which sounds more natural than the heavily EQ’ed version everyone is familiar with. The entire recording also has better low end. My sincere thanks to Bob Stone, who originally recorded this, David Bernis, who made the BetaHiFi copy back in the late 1980s, and especially Doug Rice, who discovered this Beta tape and meticulously did two 24/48 transfers of it, so that I could work it up to it's current state. For 1970 hand-held technology in a school gymnasium, it's a surprisingly listenable recording from the woefully under-recorded Fall 1970 tour. If nothing else, this new source can be used to patch several missing parts on the only other source. I hold out hope that Bob Stone's master cassettes still exist and may even surface someday. If you have any leads on that, please get in touch. Happy New Year! Alan Bershaw (January 2026)
01/21/71 Freeborn Hall, University of California FLAC 24/96khz
01/21/71 Freeborn Hall, University of California - Thanks to Steve Martin for the source cassette - Thanks to Matt Smith for the transfer and coordinating this effort - This was Steve Martin's first show and he asked Dick Latvala to make a copy of the vault reels. All Dick could find was reel #'s 2 and 4, which he loaned to Steve, who dubbed the first generation cassette - Pitch corrected - "We're gonna take a short break ya know and try to uncross our eyes. And uh, we'll be right back" Mastered by Scott Clugston September 2021
06/21/71 Chateau D'Herouville 16/44.1khz FLAC 1
08/26/71 Gaelic Park
10/26/71 The Palestra, U. of Rochester Notes: - Historical interest item, antique FM broadcast... for great fidelity refer to Download Series Volume Three. - As with ID-9761 (and likely all FM sources), there's significant drop-outs in the music where it appears the broadcast transmission was lost, too many to list. - FM crackle during much of the show, particularly noticeable during Drums and between songs at times. - ID-9761 covers 20 seconds near the end of Bertha, and the first 17 seconds of Me & Bobby McGee. - Six patches from ID-9761 (about 9 minutes total) were added to tuning/banter segments to make the broadcast document as complete as possible. - Thanks to Doug Rice for expert transfer from Beta, and to Alan Bershaw for assistance!
10/30/71 Taft Auditorium Notes: -Same issues in end of tape as 2004 seed -DAT supplies the entire show until about 1 minute into GDTRFB, where I used Doug Nawrocki's 2004 fine patch work, quote -"in GDTRFB where the secondary source is crossfaded in. The patch was necessary as the primary source was marred with digital noise. If another MR transfer exists, please share it. - Sonic Foundry Pitch Shift applied to secondary source at +52.2 semitones on high setting w/Anti-Alias Filter" -secondary source notes as provided in 2004 seed "...FM > Pioneer RT-707 (7" reel @ 7 1/2 ips) > CD Conversion: Kenwood TrueX > EAC > shn v3..." -lots of little FM static things removed transparently throughout show -DAT provided about 75 seconds more radio outro and I included it though a few audio gremlins exist, it's just crowd and DJ Chatter
10/31/71 Ohio Theatre
11/07/71 Harding Theater FLAC 24/96khz 1 A-
12/14/71 Hill Auditorium - Thanks to Tim Dalton for the source PCM - Thanks to Charlie Miller for the transfer - Beginning of "Ramble On Rose" clipped - Discontinuity in "You Win Again" around the 0:20 mark, also present on shnid23842
03/25/72 Academy of Music 16/48khz FLAC 1 A+
06/17/72 Hollywood Bowl -- This is the complete show with the correct setlist -- The tape starts off with Pigpen talking to the crowd -- There is some minor vocal distortion but nothing too bad -- Patch in The Other One due to severe level drop on master
08/24/72 Berkeley Community Theater 16/44.1khz 1
09/10/72 Hollywood Palladium - Patched with circulating SBD source in 'Bird Song', 'Sugaree', 'Playing in the Band', 'Ramble On Rose', and 'Dark Star'. - Reel spins up a few measures before the vocal starts in 'Bertha'.
06/26/73 Seattle Center Arena Notes: JEMS master recording. Very good to excellent sounding recording. All songs are complete missing no music except for the very beginning of He's Gone due to a reel change.
12/02/73 Music Hall 16/48khz FLAC 1 A+
06/08/74 Oakland-Alameda County Coliseum Notes: - Thanks to Louis Falanga (RIP) for the master cassette recording - Thanks to Bob Menke for the transfer - Thanks to Charlie Miller for coordinating this effort - First notes of "Ship Of Fools" clipped (patch source not available - 4/2025) - Pitch corrected Mastered by Scott Clugston April 2025
07/25/74 International Amphitheater 16/44.1khz FLAC 1
12/21/78 The Summit
11/01/79 Nassau Veterans Memorial Coliseum 16/44.1 FLAC 1
01/13/80 Oakland-Alameda County Coliseum
12/26/81 Oakland Auditorium Arena the 2nd set was Joani's first soundboard patch, Jim Voss provided Joani with a 1st generation copy of the 2nd set after the show
07/13/84 Greek Theatre, U. Of California
10/02/87 Shoreline Amphitheatre 24/96 flac -- This is a Healy Mix SBD with no ambient mics -- Set 2 has line level distortion during some loud parts
07/02/88 Oxford Plains Speedway

Gregory Isaacs --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/19/88 Reggae Sunsplash
12/03/99 Palookaville
02/20/10 Fox Theatre

Heptones --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/19/09 Hootananny Brixton

Herbie Hancock --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/??/71 Molde Jazz Festival I recently acquired this from my usual source, agalli, whom got it in a trade with his "German Buddy". (Thanks!) It is supposedly significantly longer than what circulates. The sound is not great so this may be for hardcore Mwandishi Fans only (I think Water Torture is more listenable and exciting than Toys here- check samples). Surprised there has not been a bit of a Mwandishi Flood here with the recent book and all. My copy of the heavily circulated Nice, FRA 71' Show is archived on an old shit CDr. Anybody have the definitive version to share here? Short video of this date for those who have not seen it: http://www.youtube.com/watch?v=5lTimyz9T7k enjoy, mr_mags
03/18/72 Kantonschule From v.1 notes and comments 6/2/09: Disc 1: tuned, fixed tracking, reFLACed Disc 2: Joined original T1, T2, T3 Deleted original T4 T1-T5 were approx. 47 cents flat. They have been properly tuned, to the best of my ability. What was originally presented as D2T6 was approx. 150 cents sharp and has also been corrected; again - to the best of my ability. It is now 'Track 4'. What was originally presented as D2T7 was a more complete version of what was originally presented as T6, from an alternate source, and which was approximately 26 cents sharp. That has been corrected. (Note that during "Maiden Voyage", when the horns come in, they play the melody in the 'wrong' key. That threw me off for the longest time, but it was part of the arrangement with this band, made by the composer himself. Herbie plays the melody, or 'head' in the key in which he originally wrote/performed/recorded it, and the entire composition is now in the correct key.) A second edition of this, presented by 'anazgnos', contained a composite track with the original D2T6 as its basis, adding the missing part from the original D2T7 at the end. I prefer the complete track 203 in this edition now, despite the fact that, occasionally, there is more audible FM static. The static is in the other track as well, but it is simply more muted. There's more high frequency content and detail in this one here. December 2024 - Azimuth adjusted and wow & flutter reduced. Additional tuning tweaks. New flacs, checksums, etc. Updated text and comments. *Please note: The incomplete track '204 Maiden Voyage' has also been included here for the sake of archival completeness and to give the listener a chance to hear an alternate partial version of the same track, should one prefer it over the longer, more complete one. When burning Disc 2 or simply playing these tracks in a playlist, please insert a blank track 203a, newly created, named "3 seconds of silence" between Tracks 203 and 204, as the material in 204 is an incomplete duplicate of the material in 3 and it will make the track transition there less jarring. Yes, I know - I could have simply pasted it to the end of the longer track 203, but then someone else in the future might edit it out thinking it was a mistake when a copy of this is later traded after being ripped from a burn, thereby defeating the purpose of the complete archive. (This extra track needn't be exclusive here either, necessarily. Feel free to use it anytime you need 3 seconds of silence anywhere... ) Thanks to everyone involved in the creation of this (hopefully) definitive edition of this set! This incredible unit was unfortunately short lived and under-recorded. Please purchase their official releases - they're absolutely incredible and excellent recordings as well. I recently read the excellent "You'll Know When You Get There: Herbie Hancock and the Mwandishi Band", written by Bob Gluck. For a deep dive into Herbie's music leading up to and during this period, it's highly recommended! I read it while listening to the releases being analysed and described in detail. Those are records I know very well and also still find essential in connecting where this creative branch of the music was going in the 70s by these intuitive master musicians. Every show was unique. That makes them all special. This is just one of the limited number of them we're fortunate enough to hear...
03/21/72 Tivoli Notes: mr_mags originally seeded this from a different rip of agalli's CDs on September 1, 2007. At the time, agalli did not know the exact date or venue, and mistakenly thought this was from the band's 1971 tour. By reading Bob Gluck's thorough book on the Mwandishi band, he figured out what he now thinks is the correct info. This should not be confused with the July 29, 1971 recording of this band at Tivoli.
03/25/72 De Doelen nother one from the vaults, this one I believe hasn't circulated yet. This is all it was broadcasted on that particular radio broadcast (you can hear DJ comments at the beginning and end of this fragment). At this time Herbie was playing in a quite 'free form', again very influenced by WR mark I. Nice one, I wish we could have the entire show... enjoy! ldb
02/20/73 Strata Art Gallery This edition now presents a complete tuned file set. Many thanks to all those whose sources provided the various parts. Regarding noises - Where removing a click simply left a different flaw behind, it was decided to let the click remain. If I missed one or two fixable ones, please forgive... there was quite a number of them! Attempts at hum removal also took away too much of each instrument's lows in addition and a decision was also then made to leave it in and let the listener's ear tune it out as the music progresses. It also comes and goes in intensity although it's a constant if you listen closely. I'm fine with it now, and I hope you will be too. This is already quite far from being a perfect archive. ;) To read about the people, times and places surrounding this great exploratory musical period of Herbie's journey, please pick up a copy of Bob Gluck's definitive book on the subject, "You'll Know When You Get There: Herbie Hancock and the Mwandishi Band". It's not only a great reference, but it's a great read as well. I'd also recommend listening to Hancock's Warner Bros. albums from around this time, released in the 2-CD set 'Mwandishi' or you'll find it streaming. And check out Herbie's "Sextant" as well which wasn't on Warner Bros. but Columbia, released a month or so after this concert took place. This concert's opening track "Hidden Shadows" is from that album. Additionally, Eddie Henderson's own "Realization" release, with that title composition played live here, carries on more of this vibe and is another personal favorite... Goody - April 18, 2025
10/??/73 Ultrasonic Studios This seems to be the earliest HH & Headhunters recording around (just days before the Boston FM) Big Thanks to my partner, AG, for digging ANOTHER Ol' cassette out, digitizing it & sending it out to me. AND a... HUGE thanks to prof goody for his work on this. I had hoped for less mud and more Clark & yes, there is a noticeable step in that direction. Until a lower gen or PRE-FM comes around, I'm comfortable that this is the cleanest this serving of funk will taste. enjoy, mr_mags Goody's notes: Pitch of tracks 1-4 was approx. 34 cents sharp. Track 5 was approx. 14 cents sharp. EQ applied to restore muddy midrange. Restored levels in several spots in the R-Channel where they dropped down suddenly for various lengths of time. Many clicks and pops repaired. Retracked. Fades added to smooth transitions. September 2025: Audition (Pitch Bender - Tracks 3-5: Small speed/pitch tweaks to account for newly discovered small drift) > iZotope RX10 Advanced (Wow & Flutter reduced where possible) Text updated for this edition - 3/24/11; 9/13/25.
12/08/74 McFarlin Memorial Auditorium Notes: -cuts after track 3, 4 and 5 -automatically balanced levels -automatically phase corrected channel alignment -original audio was running fast so speed corrected -tracks 1-3 were 2.6% fast, tracks 4-5 were 2.3% fast and track 6 was 3.0% fast Ross (ledwhofloyd), Sept. 2025
11/17/75 Music Hall Digital transfer(2009) of Charley C.'s dat(0) given to him by the taper in 2006. This is a digital clone made of the off the air master cassette by the taper himself for Charley. This is the complete 60 minute FM broadcast of this show and was taped from the FM broadcast on KQ98 on March 14th, 1976. This show captures Herbie Hancock and The Headhunters touring in support of their album Man-Child. This would be the final tour, final show of the tour and album done with The Headhunters. This album and tour marked his most funkiest period of his jazz fusion music he did in the 70s.
02/20/77 University of Illinois
07/05/80 Paradise Club share the Herbie freely, losslessly and gaplessly.
09/02/81 Petrillo Music Shell, Grant Park
09/29/84 Universal Amphitheatre
09/03/85 Universal Amphitheater
10/25/86 Unknown
03/13/02 Fillmore Thanks to grner1 for sending over the files for me to work up from scratch. It was quite a nice surprise and also a bit of a challenge, as some of these familiar titles are quite deeply disguised with very new arrangements. Great players, all of them extremely creative and capable to come up with brand new ideas on the spot, turning on a dime... This edition - December 13, 2025
03/25/02 Higher Ground

Herbie Hancock & the Headhunters --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/11/75 Unknown Notes: A different version of this recording was shared by ukaykeys in 2011, who identified it as a soundboard. It's definitely an audience recording, but a very good one. That version is very similar to agalli's cassettes - so similar that I suspect it might have been an earlier transfer from agalli that mr_mags just didn't get around to torrenting himself. Herbie mentions that Brian Auger played an opening set. -the cut/tape change between tracks 6 and 7 sounds a little strange. That's just how agalli received it. -automatically phase corrected the channel alignment -automatically balanced levels -speed corrected because: -tracks 1-6 were 3.4% fast and track 7 was 2.5% fast Ross (ledwhofloyd), Feb. 2026

High Noon --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/25/81 Civic Auditorium

Horace Andy --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/25/08 Le Plan Another great roots rock reggae night in Ris Orangis!! We've had Tu Shung Peng, a french reggae group, who has demonstrated they're very good at it. Then the Dub Asante band jumped on stage and performed 3 tunes of their repertoire. Horace Andy, for his only paris date, killed the stage!! The 2 hours long set was very entertaining. He did all his most well known tunes with some new ones from his latest lp "on tour". After the show, i've had the chance to interview him, he was very very tired : He gave all he had during the show!! The sound is great. Some chatty chatty mouth at the beginning then after track 5, it comes out silent. Enjoy Semayat

Hot Tuna --- Approximate Hours: 5
Show Date Venue Media Type Media Count Sound Quality Notes
01/29/69 The Matrix FLAC 16/44.1khz 1
04/13/69 Matrix FLAC 16/44.1khz 1
04/11/70 Fillmore Auditorium
12/31/70 Winterland Arena FLAC 16/44.1khz 1
04/03/72 Carnegie Hall 16/44.1 flac notes: Not mint, but better than the "sbd reel master" source I had previously
05/04/76 Lisner Auditorium Note: Reel transfers had fades between songs The 42 minute version of Funky #7 is perfect for clearing out inlaw infestations at the end of holiday gatherings at your house Mark told me the house lights went up 1/2 way through the song, as Jorma was told they could play one more song
09/07/76 Masonic Temple FLAC 24/96khz 1
04/28/77 Great Southern Music Hall

Hugh Masekela --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/02/00 High Sierra Music Festival Notes: 48>44.1kHz resample done with SoundForge (v. 6.0) using high (4) interpolation accuracy and applying an anti-alias filter.

Hugh Mundell --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/30/82 The Keystone via ecocats: "* give thanks to candileaf for preserving this "heavy" show on tape and transferring it to cd! he played this show only occasionally and we're lucky it survived in mighty fine shape. there are very few signs of deterioration (when listened to w/ out headphones)!! i haven't come across any live music from this reggae great, who is no doubt one of my favorites!!! ** overall, lovely sound despite the presence of a few very small warts or light crunches beneath the surface of the music (this is a solid recordinging (B+ > A- for vocals / A for the rest of the music), but remember, i hate grades and i'm an easy grader. It's hard to predict what you'll give it (i can see anywhere from B > A), but regardless, this is very enjoyable for me). sadly, however, the vocals are a little low so you might want to crank it. still, the beauty and power of hugh mundell's voice is some what neutralized by the recording, which is odd because the band sounds wonderful (clear, loud, and fully present). very minimal tape hiss and almost no crowd disturbance. i'm sure i'm being overly critical of the sound quality, and every time i get distance from this show and revisit it, i find it sounds better than i remembered. moreover, the band is supa wicked! the guitar work is insane!! essential roots show!!! ... this is heavy ... *** hope you enjoy this as much as i have!!! (and let's make a deal ... you can only rate this less than 5 stars if you can seed better ... seriously ... does anyone have any hugh mundell? ... jack? bean? rasta? finbar? ... we need more than this! o jah ... please bless us with more of hugh mundell's live music!!!)"

Inner Circle --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/22/75 The Orphanage via 38f: "Really unusual show for john, this, but really a must to have, since i think is it the only John's collaboration with a real reggae band. Also, i'm not a reggae expert, so i guessed most of the songs' titles, so any correction is more than welcome."
05/11/88 Hollywood Palladium 24/96 flac Notes: --- Opened for Ziggy Marley & The Melody Makers --- Track 1 fades in

Isao Tomita --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/26/76 Hammersmith Odeon

Israel Vibration --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/29/89 HopiLand
12/04/90 Chestnut Cabaret
06/29/97 Yellow Stage
07/05/98 The Rubb

The Itals --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
02/14/94 Old World Cafe
11/21/96 Slim's 1 Perfect SBD and a rollicking good time. No flaws other than a 1 second dropout during Roll Rastafari Chariot, which was patched with material from elsewhere in the track. I defy you to find the patch. Enjoy! --mhg :: 2024-01-29
07/18/09 Mill Valley Masonic Center

J. Geils Band --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/09/70 Boston Tea Party

Jack Bruce --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/04/71 Hyde Park
01/13/72 Kongresshalle Notes: - Graham Bond did not perform; he had left the band a few days before this show - "Powerhouse Sod" has a cut at end of the drum solo (reel change) - artifacts courtesy LTB - always thanks to LTB for the files

Jack DeJohnette's New Directions --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/15/78 Unknown This performance is not included in the following lists of official DeJohnette releases https://en.wikipedia.org/wiki/Jack_DeJohnette_discography https://www.discogs.com/artist/238626-Jack-DeJohnette
11/15/78 Unknown This performance is not included in the following lists of official DeJohnette releases https://en.wikipedia.org/wiki/Jack_DeJohnette_discography https://www.discogs.com/artist/238626-Jack-DeJohnette

The Jacksons --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/25/79 Mid-South Coliseum JEMS is delighted to present a new master cassette transfer of this oft-rumored soundboard recording of The Jacksons live in Memphis, November 25, 1979. The concert was part of the long Destiny tour, named for The Jacksons 1978 album of the same name. By this point in the run, Michael had released his breakthrough solo masterpiece Off The Wall, which dropped in August 1979. The success of its first two singles, "Don't Stop 'Til You Get Enough" and "Rock With You," turned Off The Wall into a monster hit and also forced a change in the Destiny tour setlist to incorporate the two songs, both of which are featured here along with recent Jacksons hits and a taste of the group's Motown classics. To understand the impact of Michael's newfound success, The Jacksons had already hit Memphis in May, playing the 2300 seat Orpheum Theatre, but came back in November to perform at the Mid-South Coliseum which holds over 10,000. Rumors of this soundboard recording have swirled for some time, and inferior or incomplete audio of the show has appeared on YouTube. This is the first optimized transfer of the master cassette, correcting azimuth, AC hum and other issues. The board tape is not flawless, but it is nonetheless a remarkable capture of a compelling performance, especially the early live renditions of Michael's solo songs. Huge thanks to Walrus for liberating this tape with a major assist from By-Tor X-1. We greatly appreciate being partners in bringing the rare music they track down to the masses. Professor Goody tuned the pitch for you and mjk5510 handled post production. BK for JEMS
09/05/81 Chicago Stadium JEMS is delighted to present another true master cassette transferred soundboard recording of The Jacksons, this time live in Chicago, September 5, 1981. The show was part of Triumph tour, named for The Jacksons 1980 album of the same name, though it doubled as an Off The Wall concert given Michael didn't tour on his own behind his breakthrough solo masterpiece. Nonetheless, the Chicago shows features five Off The Wall songs including the singles "Rock With You," "Don't Stop 'Til You Get Enough," "She's Out Of My Life," the title track plus "Working Day And Night," all performed in excellent versions with Michael in fine vocal form, stronger than the recently released Memphis '79 soundboard tape. Triumph itself boasted a legitimately great single in Can You Feel It, though oddly the song did not break through in the US despite being a hit in Europe. For my money, it is the last great Jacksons song and it opens the show here after a pre-recorded video is played which we have omitted. Two other Triumph singles, "Lovely One" and "This Place Hotel," feature along with the group's 1978 gem "Shake Your Body (Down To The Ground)" which closes a short but stirring set. A requisite trip back to Motown is also successfully taken (we've left out another pre-recorded video with Ed Sullivan footage). Lesser quality audio of the show has appeared on YouTube. This is the first optimized transfer of the mono master cassette, correcting azimuth, AC hum and other issues. This is arguably the best live Jacksons recording and performance of the era yet to surface. Samples provided. Massive thanks to Walrus for liberating this tape with a major assist from By-Tor X-1. JEMS greatly appreciates being partners in bringing the rare music they track down to the masses. Professor Goody tuned the pitch for you and mjk5510 handled post production. BK for JEMS

Jaco Pastorius --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/26/82 Palasport Taliercio

James Brown --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/05/92 Greek Theatre

James Chance & The Contortions --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/12/78 Max's Kansas City

Jan Garbarek --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/26/71 Stadt Theater I downloaded the good sounding fbauer post, although it ran slow compared to the re-broadcast and had many DAT glitches / gaps plus repeated sections before / after track breaks, so I was very glad that Lewojazz recorded a shorter NWR re-broadcast in superior quality and luckiliy overlapping the last track of the FM version by just one note, so I stitched them together and did my usual remastering, so here is as much of the set as currently available and in the best quality, although if somebody has the missing material to patch the fade-out and announcer, do let me know and I'll update the post. For the vintage, the sound quality is remarkable and you get to hear Garbarek and Rypdal playing far more free at this early stage of their careers than their later cool 'Icy Fjords' styles. TomP post on Dime, Dec.2015...Enjoy !!
09/24/72 Kongresshalle seeded by FBAUER on 2014-11-09 Goody's notes: Pitch of original tracks was approx. 86 cents sharp. Text updated for this edition - 2014-11-09
03/20/73 Jazzclub Sogn
07/03/79 Unknown Edit details (Nero 8 and both sources unless indicated): Phase offset correction, source 2 L-channel moved -2 samples Corrected inter-track gaps / glitches in source 2 Seamlessly stitched the 2 sources Removed announcer talk over applause Corrected patches of phase inversion throughout (Audition 3) Evened volume level between sources Overall volume increase +2dB Corrected hundreds of often large balance swings Retracked at more obvious music transitions Flac tags (Tag & Rename) Flac 6 + SBE / decode check (TLH)

Jan Garbarek - Bobo Stenson Quartet --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/23/76 NDR Jazz Workshop No. 115 Edit details (Nero 8 unless indicated): Source 1: Corrected FM phase offset, L-channel +2 samples Fixed the small gaps between tracks Source 2: Convert to wav (Foobar) Convert to 44.1k (Audition) Normalised volume to match FM level Then: Combined all tracks for edit and re-tracking Corrected many balance variations Cross-mixed channels 99:1 ratio

Janis Joplin --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
11/01/68 Electric Factory
04/21/69 Royal Albert Hall FLAC 24/48khz 1 1st Gen Cassette [Dolby on] of 5" Uher Mono Reel to Reel Master [Remastered by Coolsonics]

Jean-Luc Ponty --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/22/76 Great American Music Hall Original audio shared by GrassySound, Nov. 2005 Revisions by ledwhofloyd (Ross), Mar. 2023 Revision Notes: -There was a phase error with the right channel leading the left by 20 samples at the start and gradually changing to 14 samples by the end. This was corrected automatically using MATLAB. -Balanced levels automatically in MATLAB. -Pitch/speed verified. No adjustment.
04/23/76 Bottom Line Notes: mr_mags shared agalli's first transfer on October 16, 2010. This is not to be confused with the November 21, 1976 performance of the Jean-Luc Ponty band at the Bottom Line, for which there is a different recording. This has fairly frequent, but brief dropouts on both channels throughout. Still pretty decent quality for a 1976 recording. -Seamlessly joined over a tape flip during the applause near the end of track 4 by removing repeated audio, and cut out a few extended blank sections of just tape hiss (Audacity) -track 1 was 3.75% fast, tracks 2-4 were 3.45% fast, track 5 started 3.45% fast but about 16 min in it transitioned to 3.1% fast, so speed corrected (MATLAB) -Phase corrected the channel alignment (MATLAB) -Automatically balanced levels (MATLAB) Ross (ledwhofloyd), Dec. 2025
10/23/76 La Paloma Theater Source Mix Notes: The Jerry Moore source of this show has better sound quality than the Sandy Troy recording, but the Sandy Troy recording is more complete. Both sources needed speed adjustment. Jerry Moore source 1: -1.5% because it was running fast Sandy Troy source 2: +3.7% because it was running slow I used the Sandy Troy source to patch the first ~2 seconds of the show and during Jean-Luc Ponty's chatter before Renaissance from 53:58.804 - 53:59.603. Interestingly, the tuning break before Renaissance seems to be cut in the Sandy Troy source. I crossfaded the sources for about 1 second when possible. The Sandy Troy source is louder than the Jerry Moore source so I had to deamplify it. I copied the right channel to the left from 53:58.804-53:59.603 to "repair" a dropout during Lost Forest. Because there are significant differences between the channels in this stereo soundboard, this is somewhat noticeable. The encore is entirely missing from the Jerry Moore source. The audio also fades out after Aurora at the same point on the Sandy Troy source so this source mix is still not continuous. I did this work in Audacity on a combined single track. I exported the results as retracked FLAC files and used TLH to fix SBE/create a checksum. -ledwhofloyd (Ross), Dec. 2021

Jeff Beck Group --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/13/67 Windsor Racecourse

Jefferson Airplane --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
??/??/39 Share A Little Joke With The World
03/05/67 Cafe Au Go Go FLAC 1 Notes: - This version has been provided by an anonymous source. - "It's No Secret" fades in. - a few pops and clicks have been removed and level adjustments made. - All files are tagged.
05/19/67 Men's Gym - Cal. Polytechnic State U.
07/16/67 FantasyFaire, Devonshire Meadows
01/30/68 The Matrix
08/28/68 Falkoner Centret
09/15/68 Concertgebouw Original uploader Stefano's comment: After about two months of hard research I finally put together the complete Amsterdam show or so it seems...I've asked Dave Tamarkin about that and he told me that to his knowledge this is the complete aired show, and so did Setlist.com Someone supposed that they also played Greasy Heart but it's not confirmed. I've made some artwork for this and it's included in the torrent, hope you will enjoy it. The Jefferson Airplane torrent war continues..... Stefano To which Goody would like to add: The speed/pitch of the source ran quite slow/flat and by various degrees - it has now been properly tuned. Huge thanks to all those named above! This text updated - February 2025
11/17/68 Electric Factory CoolSonics 284 ::: Thanks to the original taper & traders & to DIMER gv0000 for date research assist! ::: Corrections welcome ::: This recording is a whole new listen for me after remastering, especially with speed correction & many volume issues & glitches repaired. Nice early version of "Won't You Try/Saturday Afternoon" with unusual arrangements in parts. In fact, a number of the songs have somewhat unusual arrangements, though this is in part due to the paucity of this vintage JA & the time period is undoubtably one of their best. AUD noise is quite low & ambience is weird at times as things seem somewhat informal & almost rehearsal-like to me in places. Seems like Jorma's guitar goes quite out of tune by the end of the "Philly Jam". "Star Track" is certainly a treat. Dryden is drivin' some songs in very energetic fashion. Check it out. ENJOY!
??/??/69 Unknown. Broadcast on WOUR-FM, Utica
03/24/70 Capitol Theater
03/25/70 Suffolk County Community College 46 year old source cassette tape had been spliced (twice) previously and causes minor garble during Emergency
08/26/70 Convention Center
10/25/70 Convention Hall Notes: Direct transfer of the original master reels. An incomplete recording of unknown lineage has circulated for decades, but this complete recording (90 minutes) has never previously circulated (as of October 2015). This is the earliest documented evidence of Papa John Creach on a Jefferson Airplane performance. That being the case, this may be the debut of "John's Other." Track 12 is a blues based instrumental showcasing Creach, with some similarities to "String Jet Rock" and may be an embryonic precursor to that song, which is why I titled it "String Jet Jam" for lack of a better title. Like the two shows from the previous night, this is a relatively lo fi recording with the taper stop/starting the deck between songs, but the performance is strong and quite unique in places, including an extended version of "Volunteers" to close the show. The venue (previously unknown) was the Cotillion Ballroom and the tickets were general admission. Big thank you to my old buddy Rob Berger for helping me share these recordings 45 years after the fact. -Alan Bershaw
11/25/70 Fillmore East "GENERAL OPINION IS THAT THIS IS THE EARLY AND LATE SHOWS SO IT IS NOTED AS SUCH WITH THE MOST LIKELY BREAK.SOME SOURCES HAVE 2 HOT TUNA SONGS AT THE BEGINNING AND ANOTHER VERSION OF VOLUNTEERS ENDING THE LATE SHOW.THIS IS ALL I HAVE." - davmar77
01/16/72 Public Hall Welcome to the next volume in our continuing series of master recordings from dime member "JoeRay". Joe Ray has spent decades documenting historic show after historic show. We are pleased to present a new direct from the master tapes edition of Jefferson Airplane at the Public Hall in Cleveland, Ohio on January 16, 1972. This was the first show of 1972 for the band, a year that would find them imploding and splintering into separate groups by the end of they year. There is one unconfirmed date on January 14th in Ann Arbor, Michigan that probably took place on November 20, 1971. ************ JoeRay fills us in on the details around this recording: I sat in the 4th row center on a Sunday night in Cleveland’s Public Hall to a sold-out crowd of 9,500 with my girlfriend Patty to see one of the icon bands I had always wanted to see. Seeing the Jefferson Airplane was a dream come true. A band I never heard of at that time, REO Speedwagon opened the concert but did not impress me at all. The promoters, Mike and Jules Belkin followed Bill Graham in booking unique and different types of music on the same bill. As I was very close to the stage and in the center of the main floor, I was overwhelmed by stage amps and did not benefit from the house PA so the vocals were a little low in the mix. I recorded this concert with my old Philips cassette recorder (mono). I used a AKG D1000E vocal mic connected to a 20’ cable and a Memorex 120 cassette tape. The AKG mic was responsible for the quality of the recording. ************* Joe Ray is correct regarding the vocals being buried in the mix but don't discount the overall quality of this recording, it is very very good and benefits from the AKG D1000E mic. In this case, like the first volume we shared "Ten Years After", he was probably a little too close to the stage but the AKG does a fine job capturing the instruments with the power that comes with recording from the 4th row. The vocals at times do get lost in the mix, in a couple of places pretty much disappearing all together. Grace's vocals come through fairly well due to the frequency she sings at and all the vocals were pulled forward as much as possible in the mastering process. I've said it before and will say it again, we owe JoeRay a huge debt of gratitude in working through his rare master recordings and I'm honored to be a partner in this historic undertaking. I hope you enjoy his recordings as much as I'm enjoying working on them. We have included JoeRay's ticket stub and the one surviving photo of Grace from the show which has succumbed to some degree to father time but is still very cool to see. Samples and artwork included...released in both 2496 and 1644. mjk5510 and JoeRay
09/30/89 Polo Field - Golden Gate Park This was the last time that all of the original lineup played again.

Jefferson Starship --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
10/19/74 Radio City Music Hall 16/44.1khz FLAC 1

Jesse Colin Young --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/??/73 Paul's Mall I've never seen this posted anywhere. I think fans of Jesse Colin Young will enjoy this rare radio tape. I wasn't able to pin down an exact date, but Jesse most likely played a few nights at Paul's Mall, sometime during the last week in October 1973. This old, original broadcast tape had several channel dropouts, most of which I fixed, The song "Walking Blues" has a few dropouts between 5:04 - 5:17. The song "Song For Juli" has a 4 second dropout @ 1:24. The dropouts in those 2 songs were always present and originated from the WBCN tapes. The tape speed sounded okay, so I left it alone.

Jethro Tull --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/26/69 Civic Auditorium
10/18/70 The Forum Covers by ethiessen1 (Thanks!) Many thanks as well to all those who have come before to capture, preserve and share this recording with us... Text updated for this edition - February 13, 2022
10/19/70 Anaheim Convention Center

Jimi Hendrix --- Approximate Hours: 2.5
Show Date Venue Media Type Media Count Sound Quality Notes
04/10/67 Playhouse Theatre The speed/pitch of the source runs extremely fast/sharp. I've brought it down to what it most likely sounded like the day of the performances. Further edits to smooth the audio a bit performed by jimiclones. This edition - January 29, 2025
09/04/67 Stora Scenen - Grona Lund, Tivoli Garden 16/48khz Flac 1 Early & Late Show
06/20/69 Newport 1969 Pop Festival *Thoughts: Yes - I'd put money on the taper you'll hear in tracks 1 and 7 definitely saying 'Reel', not 'Roll', but you'll see that the word 'Roll' has made it into all previous editions up til now. Yes, it definitely also sounds like 'roll'. I hear what everyone else was hearing. No doubt. And then I thought about it. Audio tape comes on a reel; film does too. Similar media. Sticky tape comes on a roll. I'm very glad this tape wasn't of the sticky type... He's saying 'reel'. Some of y'all've heard people say it that way too, coming from deeper in the throat. Or - maybe take another word as an example - ( and please, don't mind the spelling) - 'Really' could also sound like 'Rully'. (Ya heard?) That's what I believe this is. Maybe you will now, too. Or you're on the way to gettin' there; give it time... this is new to circulation. ;) With regard to VJ - I'm not hearing that jazzy climbing melody Jimi plays on every other actual performance of his tune that I'd, erm, really identify as VJ. I don't hear that here. My two cents... My thanks to all who provided us with this great archive! This edition - December 2024
06/27/70 Boston Garden 24/96 FLAC
08/30/70 East Afton Farm 24/96khz Flac 1 transferred, edited and mastered SIRMick October 2019

Jimi Hendrix Experience --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/16/69 Meistersingerhalle Comments from Mossa: This comes direct from the original reel (taper PW) Here's the story to this, in the 80's I had my favourite record store in Munich. The owner was a music lover too, we started chatting on "this band & that band" and talked about concerts we've been to. He told me that he went to several very obscure shows aound his hometown Coburg and even recorded a few with his father's UHER Report reel machine, several of these recordings must be "stored somewhere in my cellar". Later we went to his house as I was curious on his reels. After searching for over an hour we found a storage box with totally damaged reel tapes - there they were!! 95 % were not useable any more, 3 or 4 survived this bad treatment. He allowed me to take the 2 best to my house and transfer them to see what's on these (nothing was labeled properly). So I did and couldn't believe my ears. This must be "Stud" - the follow-up band by former TASTE members John Wilson and Richie McCracken. I had the 2 Stud albums and immediately realized this was them somewhere live, taped by this guy. I transferred to cassette tape using my own UHER Reel tape machine. When calling my friend he told me that I'm right, he recorded "Stud" sometime on a cold winter night around 1970 or 1971. He might have some more info on the date somewhere (he remembered the venue right away) and started searching. A few days later he called me and told that he found a note in one of his schoolbooks (!!!) The next time we met he gave me another reel and this is it. Notes: - The vocals are on the low side, I have boosted them where possible. I have listened to a couple of other recordings and they all suffer from the same problem. Presumably there was a oroblem with the mic. Luckily, nobody ever went to see him to listen to his vocal expertise. Thanks to Joe B. Jones for his help with pitch correction. Thanks to PW and Mossa. edited and mastered SIRMick August 2020

Jimmy Cliff --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/26/75 Santa Monica Civic Auditorium DVD
11/19/76 Orpheum Theatre
11/11/78 Park West 16/44 FLAC Notes: 1) The original “Sunday Night UnConcert” broadcast was on February 4, 1979. This tape is from a 1982 rebroadcast of the show. (The "UnConcert" was sponsored by 7Up, the "UnCola".) 2) Some copies in circulation originate from CD copies Tim made for a few people in trades many years ago. They have the same fade in/out at about 4:40 during Meeting in Afrika, which is from the cassette flip, and has been lightly cross-faded here. This is the first time this recording has been seeded from the master cassette with no CD generations.
11/11/78 Park West 24/96 FLAC Notes: 1) The original “Sunday Night UnConcert” broadcast was on February 4, 1979. This tape is from a 1982 rebroadcast of the show. (The "UnConcert" was sponsored by 7Up, the "UnCola".) 2) Some copies in circulation originate from CD copies Tim made for a few people in trades many years ago. They have the same fade in/out at about 4:40 during Meeting in Afrika, which is from the cassette flip, and has been lightly cross-faded here. This is the first time this recording has been seeded from the master cassette with no CD generations.
07/22/82 Piazza Vetra 2021 Transfer, dc offset and hum adjusted, channel levels aligned.
07/??/82 Teatro Tenda Here's a rare recording from Jimmy Cliff, I've never seen the video footage. The TV's audio output was in mono. I'm unsure of who's all playing onstage. Thanks to Mauro for the tape transfer.
09/09/82 Uptown Theatre
10/30/85 Calderone Theater
09/04/86 Mann Music Center
06/25/88 Opus 40 16/44.1 flac Probably the Senn 441s and probably the master cassettes. A small dropout in Rivers of Bablyon and a second on in Pressure were removed. You won't notice. Enjoy! --mhg :: 2024-05-13
06/25/88 Opus 40 Probably the Senn 441s and probably the master cassettes. A small dropout in Rivers of Bablyon and a second on in Pressure were removed. You won't notice. Enjoy! --mhg :: 2024-05-13
08/12/88 Red Rocks Amphitheater Notes: This is an excellent audience recording from Red Rocks that I just transferred for the first time. The ambience is great - punchy, not distorted with a soft echo which is what it sounded like at the show. The sound was better than for Burning Spear who played before. Nice mix overall. It captures the sound of the distinct Red Rocks vibe well. This is very enjoyable for an audience tape and worth checking out if you like Jimmy Cliff. The only serious problem on the tape is the truncated version of Harder They Come at the end. OUCH! Sorry about that - not sure how it happened - who could let such a thing happen??? Normally I wouldn't seed something with this problem but I really doubt there are other copies of this in circulation and I think most people will appreciate it just the same. Red Rocks is a difficult place to record. You have to be somewhat commando to sneak in all your gear and do battle with rambunctious concert goers who have been drinking and partying all day, so you need a little help too if you want to walk out of there with a good tape. We made this tape with about 6 people in defensive formation around the taper and the equipment, protecting from those in the crowd who have the propensity to walk on tape decks, spill drinks, shriek, whistle, and fall on things. It was all worth it. It was a beautiful summer day at Red Rocks and Burning Spear followed a pretty good show by David Lindley and El Rayo-X and preceded this excellent show by Jimmy Cliff and Oneness. This is a great energy-loaded performance by Jimmy Cliff who lit up the place with his explosive rub-a-dub stylee. - Dub Irie 5/4/2006
08/19/88 Greek Theatre
08/28/88 Autzen Stadium, U. of Oregon
11/01/88 Edwards Auditorium 16/44.1 FLAC
11/01/88 Edwards Auditorium 24/96 FLAC
11/07/88 Proctor's Theatre
09/23/89 Capitol Theatre
07/20/90 Red Rocks Big Al recorded this show and it turned out nice. This is only a partial set. Not much wind for RR and crowd noise is there between tunes but not really noticable when the music is playing. A good performance by Jimmy and a good pull by Al. I guessed on the song titles.
08/24/91 Gold Coast Concert Bowl, Squaw Valley
08/22/92 Loon Mountain Resort Part of the Loon Summer Concert Series - Reggae World Beat 1992, which included Burning Spear and other bands. The accompanying newspaper clippings give more information. Enjoy! --mhg :: 2025-08-20
07/08/94 Aquatica Park A quick hit from the MR archives, doesn't look like this short set is at least under-circulated. I believe this was taken from a TV broadcast and is excellent quality. Thanks to MR for the wealth of recordings and goody for both pitch corrections and a bit of editing. mjk5510
08/07/94 Fiddler's Green Amphitheater Notes: - Levels overload during first few seconds of track 1, then adjust downward quickly. - Last track cuts out; set may be incomplete as it came as filler on another tape.
08/28/99 Pier 30-32
05/06/00 New Orleans Jazz and Heritage Festival
07/02/00 African/Carribean Festival, Washington Park
08/23/00 Stephen Talkhouse This was originally posted on Dime in June 2013. It had 57 downloads before it fell off the tracker. When this was originally created, it didn't have the Sector Boundary Alignment. That has now been applied. Previously I had split "Samba Reggae" into two tracks, which I've now combined into one track. I also made some slight volume adjustments and updated the text file and created new fingerprints.
07/11/10 Central Park Summerstage
08/23/12 Rialto Theatre 16/44.1 flac
07/16/14 The Pavilion at Wolf Lake Memorial Park 24/48 flac
09/07/15 Sausalito Art & Wine Festival "I arrived while the first band was playing. Since I had never heard of them I found a spot and went to put on the gear. I finished up as they were fuinishing their last song. Mitch Wood and his Rocket 88s came on second. They put on a good set, more a 50's type boogie woogie band. Not what I listen to normally but I expect more than a few folks know of them and will like this. Between sets I ran into a taper friend who wasn't taping. He grabbed the seat mext to me so I was surrounded by quiet people or a shrub divider to the vip area. The Jimmy Cliff set started a bit late due to setup issues but he came out on fire. The set included his big hits, some great covers and his own material. I didn't stay for the last band because it wasn't someone I needed to see and wanted to beat traffic. I went for Jimmy Cliff and got my money's worth."

Joe Henderson --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/??/74 The Happy Medium

Joe Higgs --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/12/86 The Coach House .ape Great SBD obtained from a close friend of the master of reggae Joe Higgs, This show was very hard to split due to most of tracks running into each other.I did the best I could.Slight volume boost and normalize done..The band is low in the mix for some reason.Vocal are mixed good.. DO NOT SELL DO NOT ENCODE TO LOSSY FORMATS TRANSFER DONE 2006/07/09 BY T.JONES
02/17/91 Berkeley Community Theater
01/31/97 Celebration Hall

Joe Higgs & the Family Band --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/05/90 Santa Monica Pier

John Brown's Body --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/23/03 Funk Box A beautiful, crystal clear SBD with the percussion up front and center. Enjoy! --mhg :: 2021-03-26

John Coltrane --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/01/61 Newport Jazz Festival Updated from the original notes by jimitrane: "This is my personal thank you for all the great shows I received from this site; also, an invitation for some of you to post something really rare this week. We all need to hear this. This is Trane's holy grail missing Newport show from 1961. I recently located my master cassette that I transferred from a reel to reel master mono soundboard back in the late 70s. I figured that I would give my Nakamichi a try on this recording and go straight into my Philips CDR with no EQ or messing. This recording has such an intimate feel. You can hear Trane tap in the count for "Impressions". You can hear the squeak of Elvin's hi-hat during Naima. Remember this is a recording from 1961. Trane adds Art Davis on 'My Favorite Things', bringing the number to two bassists on that tune - he hadn't settled on Jimmy Garrison yet, but McCoy and Elvin are here. The announcer introduces the first song as "So What", but Trane rips into "Impressions" instead. I've never traded this show but it's time for everyone to hear it. It's a shame there isn't more." #Dimeadozen comment #4494005 by StuHanson at 2011-01-12 21:06:30 GMT: "This is great. Thank you for sharing! For the sake of accuracy though, there was no 1961 Newport Jazz Festival. Seriously. This Coltrane recording is from "Music At Newport," an entirely different one-off event that happened in Newport that summer. Here's a basic synopsis of what happened (from the Newport Jazz Festival wiki). You can also read about it in depth in George Wein's highly recommended autobiography. Stu In 1960 boisterous spectators created a major disturbance, and the National Guard was called to the scene. Word that the disturbances had meant the end of the festival, following the Sunday afternoon blues presentation headlined by Muddy Waters, reached poet Langston Hughes, who was in a meeting on the festival grounds. Hughes wrote an impromptu lyric, "Goodbye Newport Blues," that he brought to the Waters band onstage, announcing their likewise impromptu musical performance of the piece himself, before Waters pianist Otis Spann led the band and sang the Hughes poem. Presentation of the proper Newport Jazz Festival was disallowed in 1961 due to the difficulty of the previous year's festival. In its place, another festival billed as "Music at Newport" was produced by Sid Bernstein in cooperation with a group of Newport businessmen. That festival included a number of jazz musicians but was financially unsuccessful. Bernstein announced that he would not seek to return to Newport in 1962. The Newport Jazz Festival resumed at Freebody Park in 1962." Goody's updated notes: I remastered this essential archive many years ago and with the help of some newly acquired software I've been able to upgrade it and further improve how it sounds. Wow & flutter is now greatly reduced wherever possible now, most noticeably in the piano solo segments but in the sound of Coltrane's horns as well, although it proved difficult to completely remove or reduce the appearances of it from the horns so there are mixed results - still an improvement overall, but not entirely as I had hoped. An unsuccessful attempt was initially made which served to produce a great amount of 'smearing' and it had to be redone to insure that the articulations of Coltrane's horn playing were retained and intact. I've also aligned the tracks and adjusted their levels as I took the opportunity to reexamine them once again, further fixing some additional small dropouts I happened to notice as well. Other small edits to improve the overall presentation were also successfully achieved. To my knowledge, these tracks have never sounded this good since the day someone captured and saved the music nearly 60 years ago, and a giant debt of gratitude is owed to whomever that might have been! The tracks are now titled more specifically than how I labeled them before and they're tagged as well. Some baked-in distortion remains that I couldn't reduce - it was by no means a perfect recording. Tying it all together, new covers have been added to the package courtesy of our art department, ethiessen1; (thanks!) Two options - color and black & white - are included here in 2 resolutions, and we've thrown in some additional documents for you as well. I'm very proud of the differences and improvements in this v.3 remastered set and it gives me great pleasure to present it to you now! This music is seminal, to say the very least. But y'all already know that... Text updated for this edition - April 8, 2021.
10/25/63 Tivoli Koncertsal
07/17/66 Kobe Kokusai Kaikan ***This version does not come from any previous tree, branch, CDR trade or unk.(x)gen. cassette, etc. Reportedly recorded under the recordists chair. some foot tapping is evident. this tape is complete and unedited. NOTE: as with all other circulating copies, indeed the master, there are many speed fluctuations and overall it is a very flawed tape. that said, Naima is beautiful, and MFT is the longest known version from the tour. very OUT! We are lucky to have this. enjoy!

John Hartford & Vassar Clements --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/13/74 Main Library Plaza (outdoors) Notes: I transferred this about 10 years ago but it doesn't seem to circulate very much, so I have done another transfer using the flat transfer method. This transfer showed peaks very close to 25kHz so I have left this at 48kHz sampling rate. If you want to burn to CD you will need to convert it to 44.1. Tim Diebert supplied many of the fiddle tune names during the last iteration, but two are still unknown. Don't blame him if they are wrong here, and I think there is one additional somewhere in the mix between tracks 8 and 11. Please provide the names of any that might be incorrect or listed with question marks. I recorded with John Hartford's permission. The automatic level control introduces some noise during the quieter moments. It was a UF sound system, and not the best quality. I've seen this listed as a soundboard online but it's definitely not a soundboard. I had the mic on the ground, pointed at the speakers. There's quite a bit of chatter at first, but that settles down as the show progresses. Occasional dog fights. There are a couple of dropouts in the sound system (you'll hear crowd noise but no music, or unamplified music in the background for a few seconds) and a tape flip, but other than that it's pretty much intact. A local bluegrass band played as a warmup act, but I didn't record it. It was a Sunday afternoon, a picnic atmosphere. Steve Goyette has graciously supplied his pictures from the day to accompany the music. I have them in a separate folder.

John Holt --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/14/10 Brixton Academy

John Martyn --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/09/71 Paris Theatre

John Mayall --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
07/05/69 Newport Folk Festival 16/44.1 flac 1 JEMS is pleased to present another fresh master transfer of some of the earliest rock concert audience tapes recorded on cassette. This historic John Mayall performance at the Newport Jazz Festival was taped by the same person who did the outstanding Boston area Cream shows from 1968 we posted earlier this year. Like those Cream gigs, the Mayall @ Newport recording has circulated previously in an "unknown transfer" that was praised as "great sounding for the time." This new transfer from the original source cassette should be an upgrade as the Cream recordings were, offering fuller fidelity, sharper sound and little tape hiss. You'll hear some audience chitter chatter as one might expect from a festival audience unfamiliar with Mayall, but otherwise the recording is remarkably good for setting and early cassette technology. Samples provided. Mayall is playing with his Turning Point band, a smaller combo, but they pack a punch in this short but appealing set that ends with his harmonica-led classic, "Room To Move." JEMS is grateful to our anonymous collector friend for sending us the Mayall master tape and placing his trust in us to make final and hopefully definitive transfers of these precious early audies. Thanks as well to Professor Goody, who made sure of our pitch adjustment and to mjk5510 for holding down the fort and keeping the factory humming each and every week. BK for JEMS

John McLaughlin & the One Truth Band --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/14/78 Park West
04/30/79 University of Illinois *Regarding the very slow speed of the source, I found the pitch to be approximately 1.75 semitones flat at its worst from the start, and then as the speed increased, the pitch during Stu's piano solo was the closest to being at the correct speed and it was still well over a semitone flat at approximately -1.18 semitones. Aligning the channels helped the audio greatly, and then I was able to apply a wow and flutter fix that made this extremely flawed source come back to life. The audio is a little on the harsh side at times, but it's become a very enjoyable listen now. Many thanks to jswetch for passing along the source from, I believe, the 'waterwheel' archives, also deserving of much thanks! Goody - April 5, 2024

John McLaughlin, Jack Bruce, Billy Cobham & Stu Goldberg --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/07/79 Chateau Neuf 24/96 flac
10/14/79 Leiderhalle Goody's comments: Thanks to ledwhofloyd for posting the source of this upgrade from agalli's archives. I was able to repair the flutter and adjust the slight speed/pitch deviations. An azimuth adjustment fixed the balance of the transfer, after which it was amplified. The first 7 seconds of 'Core Of The Apple' have been improved, but brief distortion remains there. There was much duplication in the track transitions, also improved now. Many thanks to all names listed above! It's a rather nice recording of a great and rare show, indeed... August 23, 2025

John Zorn --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/21/94 Palms Playhouse Unclear how this ensemble was billed, but the following evening at the Great American Music Hall it was as written above. This recording is fundamentally good but has a few problems that make it less suitable for headphones and better for a car stereo. The channels were unbalanced, which has been fixed, and the right channel cut out from time to time. Those parts were fixed by using the left channel only, and about 20 minutes of the performance, including the last 17 minutes, is dual mono. But there is also light static here and there, probably from a loose mic cable. It's particularly bad when the taper was probably shifting in his seat, but it comes and goes and there is noise here and there throughout the show. Fortunately, all of these flaws are obscured by the discordant nature of the music, and as this is the only known recording of the show, it is all that we have. Enjoy! --mhg :: 2025-12-07

John Zorn's Masada --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/07/94 Kito FLAC 16/44.1khz

Johnny Clarke --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/21/08 The Drum

Johnny Clegg & Savuka --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/30/88 Wadsworth Theatre

Joni Mitchell --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/03/78 Greek Theatre
05/27/79 Greek Theater Thanks so much to everyone involved in the creation and preservation of the source of this great performance. Text updated for this edition - November 18, 2013 Goody
06/15/79 Playboy Jazz Festival, Hollywood Bowl

Jorma Kaukonen --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
05/19/78 Suffolk Forum FLAC 16/44.1khz 1

Journey --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/31/73 Winterland Originally shared by darzynrb on Feb. 23, 2008 Notes: There was almost certainly some hiss reduction used somewhere in the lineage. There is very little high frequency content. There are some tape cuts - not sure if this is the full show. The original audio was somewhat overamplified and imbalanced between the left and right channels. Track 1: Left -2.24 dB, clip fix at 94% Track 2-5: Left -1.57 dB, clip fix at 94% Tracks 6-8 of the original audio had phase cancellation issues because the left and right channels were inverted relative to each other. If uncorrected, this leads to a thin sound because the low frequency output from a set of stereo speakers will destructively interfere with each other. Inverting one of the channels is a simple fix for this issue (in this case, I inverted the left). Original audio ran fast: Universal -2.5% speed adjustment I did this work in Audacity on a combined single track and exported the results as retracked FLAC files. TLH was used to fix SBE and create a checksum. -ledwhofloyd (Ross), Dec. 2021

Judy Mowatt --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
11/08/87 Chestnut Cabaret
11/11/87 Memorial Auditorium FLAC 24/96khz
11/11/87 Memorial Auditorium FLAC 16/44.1khz
06/??/89 Unknown Venue FLAC 16/44.1khz 1
11/20/91 Liberty Lunch
06/28/92 Riverfront Park 16/48 FLAC A rich, well-mixed recording that sounds was labelled simply "FOB AUD." ; There is only 30 minutes of this, and the last track cuts. No idea how long the entire concert was. A dropout in Black Man, Brown Man was, unfortunately, at just the wrong place, and a few seconds of music has been lost to make it flow reasonably.

Junior Reid --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/13/21 Humbrews

Justin Hinds & the Dominoes --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/28/00 Jolly Bob's
09/14/00 Annex

Keith & Donna Band --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
08/30/75 The Orphanage FLAC 16/44.1khz 1

Keith Jarrett --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/16/74 Lisner Auditorium - George Washington University from "DC" our anonymous donor: Keith Jarrett, Lisner Auditorium, George Washington University, Washington DC, October 16, 1974. Jarrett played a solo set before being followed by the Gary Burton Quintet. From the master cassettes. Recorded from about halfway back in the main center section of the auditorium, using an inexpensive Panasonic mono recorder with ALC and cheap Ampex tapes. The original tapes cannot be located. This digital transfer was made from those tapes early in the 21st century. At that time, EQ was used to remove the extreme bottom frequencies to eliminate rumble and the extreme high frequencies to reduce hiss.

Keith Jarrett Trio --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/25/76 DAR Consitution Hall from "DC" our anonymous donor: Keith Jarrett, Jan Garbarek, Charlie Haden, and a 28 piece symphony orchestra, live at DAR Constitution Hall, July 25, 1976, from the master cassette tapes. The recording was made from the side of the hall, facing the side of the stage, using a portable Yamaha mono recorder, with manually set levels, and Ampex 370 conventional bias cassettes. This transfer was made in 2013 by playing the master tapes (after the actual cassette reels and tapes were moved to new cassette shells) on an Akai GX F31 cassette deck into a PC, where the signal was captured via Goldwave. The channel with the strongest signal was copied and the copy was pasted into the opposite channel for true mono sound. The relative lack of high end and presence is probably the result of the mediocre (at best) recording tape. A small amount of EQ was used to add some high end to the music. Similary, Jarrett's spoken comments were eq'ed to make them clearer and less muddy.
07/23/85 Juan Les Pins, Pinede Gould Another excellent ts-file recording by Lewojazz, it did need some remastering but now you have this wonderful concert in the best possible sound quality. TomP post on Dime, Feb.2016...Enjoy !! ---------------------------- Edit details (Nero 8 unless indicated): Increased volume by +8dB Phase offset correction, +1 sample tr02-07, -1 tr08-15 & further -2 tr01 & 07-09 Cross-mixed channels 99:1 ratio Removed all announcer Reduced applause volume by -1 to -2dB

Killer Bees --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/06/92 The Blue Note Notes: 01. Killer Bees intro - Morgan Matsiga aka Ras Shumba (put your hands together for Michael E Johnson and Killer Bees, Columbia! 02. Stereo [M.E. Johnson] MEJ comments "we are a dance band, not a show band! come dance!" 03. Sinister Dread [M.E. Johnson] 04. Ganja Man [M.E. Johnson] > 05. Police In Helicopter [John Holt] (MEJ says Ganja Man at end) 06. Now That We Smoke Together [Ishmael Sealy] 07. I've Got To Get A Message To You [BeeGees; R,M,B Gibb] 08. Mad Minute [M.E. Johnson] 09. side B Walking Away [Malcolm Welbourne aka Papa Mali] 10. Valley (break announcement around 6:10; killer bees in the neighborhood) (healed gap at 7:09) 11. Morgan outro and plugging Ishmael Sealy's tape 12. Morgan set 2 intro 13. Gather Round [J. Williams*, J. Stevens*, T. Robinson*] 14. Sorrow Tears And Blood [Fela Aníkúlápó Kuti] (bass solo at end) 15. Sirens [M.E. Johnson] 16. C.I.A. with Wallace Hammond intro on trombone (end cut)

King Crimson --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/03/84 Santa Cruz Civic Auditorium "I am including ticket stub and backstage pass images that came from the same website as the setlist. Unfortunately they are "for reference only", because they are too low resolution to use for artwork. I don't know the song titles well enough to verify that the setlist is all correct but I was able to get the list to follow my tracking, so it's probably OK. ENJOY!" -- grner1

King Sunny Ade --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/19/83 Soldier Field Ambient recording; lots of crowd noise, mic-shifting, etc.
09/07/84 Pier 84
09/09/84 Hynes Auditorium

King Sunny Ade & His African Beats --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/27/83 Palladium
09/01/83 Country Club

Kingfish --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
06/20/75 Keystone Berkeley FLAC 24/48khz 1

The Kinks --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/13/76 Crawford Hall Volume eight in the Goldstein series was recorded just two days after our last release, David Bowie at The Forum on February 11, 1976. On Feb 13 of the same year, Barry was in Irvine capturing The Kinks on tour in support of their clever concept album Schoolboys In Disgrace. For whatever reason, this seems to be one of the band's least-documented tours, with only a handful of tapes in circulation, which is a shame given how entertaining these performances were. We believe Barry's recording is previously uncirculated but that's likely because he only preserved 26 minutes of the show as the setlist above makes clear. He not only begins recording well into the concert, but after these 26 minutes, Barry (intentionally or otherwise) reused the Kinks tape to record the final 30 or so minutes of Led Zeppelin at the Forum, June 22, 1977, released as Vol. Two in the series. In other words, the rest of the Kinks show was sacrificed to get the rest of Led Zeppelin 16 months later. Now, if you're a Kinks fan, that might feel like a bad choice, but Zepheads were thrilled by Barry's 6/22/77 recording, the first quality capture of that particular show, one of two 1977 SoCal Zeppelin shows NOT recorded by Goldstein's pal Mike Millard. If you've downloaded other tapes in the Goldstein series, his Kinks master is another unusually clear recording for the time. Samples provided. And while it is disappointing not to have the full Kinks set, 26 minutes is better than nothing.
06/04/78 Music Hall

Kraftwerk --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/11/75 Keystone via Michael Cariola: I received this audience recording in a cassette tape trade in 1976 from Gordon Stewart. The sound quality is very good. Small audience with some microphone noise between songs. Most likley a Second generation recording.
07/06/81 Captain Vidéo (Studio Gabriel)

Larry Coryell --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/13/72 Jazz Workshop ags' original comments: Here's an absolutely smoking set by Larry Coryell & his "Offering Band". Just got it in a trade & if it was on DIME before, it must have been a long time ago cuz I doubt I would miss something like this! Thanks again to agalli for getting this one to me. He got some great old Coryell Shows from me via dime but this was a really nice surprise! enjoy mr_mags Thanks to all involved in getting this out in the first place. Text updated for this edition - March 3, 2013 Goody (also hoping you'll enjoy...)
10/30/77 Beacon Theater
04/24/80 Brown University 16/44.1khz flac This recording came to Tim in a trade in 1982 from someone who had access to the SBD master of this show. Circulating recordings probably originate with this cassette. This does not appear to be the whole show, but rather a condensed and probably edited version. Although there is a lot of music here, it doesn't all flow naturally, and there are abrupt transitions between pieces and disconnected bits of banter, which suggests the master recording was edited down to fit a 90 minute cassette. In addition, the tape was marked as "Acoustic Set" starting with Mediterranean Sundance, and then "Electric Set" stating with Solo on Wednesday, but this is not how the audio plays out. There was also a buzzing sound coming from the PA, which Larry Coryell comments on before Nuages. It was intermittent and inconsistent. Most of it has been removed by it still appears between songs and you may notice it elsewhere. It may have come from the vocal mic, because the banter is often so quiet as to be inaudible. At one point Coryell says that it is Charles Mingus's birthday, which was April 22, not 24, so it's possible that the date is off. Lastly, the levels throughout were inconsistent, and have been adjusted accordingly. These are all minor issues. This is a fine recording of a terrific performance! Enjoy! --mhg :: 2024-10-06

Larry Coryell & the 11th House --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/04/73 Jazz WorkShop Notes: This FM broadcast comes relatively soon after the Eleventh House's formation. They play mostly songs from the first album, which was recorded earlier on in 1973 but not released officially until 1974. Maybe because this is all "new" material, Larry seems to announce the titles of all the songs, even going as far as spelling "Low-Lee-Tah". The radio announcer mentions that this is the first set that The Eleventh House played at the Jazz Workshop on this day. This 1st gen audio from allsoundz/carville is different from the version shared by glasnostrd19 because glasnostrd19's is higher gen (maybe 2nd gen), but they both almost certainly come from the same tape source. I think this 1st gen audio sounds slightly cleaner, but not by much because glasnostrd19's is also a good transfer. Glasnostrd19's version runs at the correct speed, whereas the original audio here ran fast. I made the following edits: -Speed adjusted everything by -2.0% -The volume levels increased slightly after about 5 minutes into the recording. I counterbalanced this by amplifying the first ~5 minutes by 1.5 dB, and tapering that off over a couple seconds during the part where the original audio was increasing in volume -FM static clicks/pops are quite noticeable on the original audio during quiet parts. I manually reduced (but didn't completely silence) the strongest of the static pops, mostly during Gratitude, the drum solo, and the speaking parts between songs. I probably dealt with about 100-200 pops. The static is still quite evident but it's at least better now. I did this work in Audacity on a combined single track and exported the results as retracked FLAC files. I fixed SBE with TLH and created a new checksum. -ledwhofloyd (Ross), Dec. 2021
02/23/74 Nazareth College Arts Center
07/27/75 The Bottom Line Originally seeded by mr_mags on October 8, 2011 Revision Notes: agalli received this in a CDR trade decades ago and sent a rip of the audio to mr_mags to seed on dime in 2011. Probably not low gen but it's the only source that's appeared on dime. This is from a different rip of agalli's CDs because he didn't archive the first rip and I didn't have all the originally ripped files either. The audio on the CDs was running 1.4% slow so I corrected it this time around. Also, I automatically balanced the levels and phase corrected. I did these edits with MATLAB. I seamlessly removed about a second of repeated audio from a tape flip with Audacity, which now occurs at 12:12.4 of track 1. Due to a slight change in the hiss signature on the different tapes, this is noticeable but I adjusted the levels around the join to make it less noticeable. Ross (ledwhofloyd), April 2025
07/31/75 Jazz Workshop Share the Larry freely, losslessly and gaplessly.
08/??/75 Bijou Cafe

Led Zeppelin --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/22/69 Mother's KRW_CO says don't alter the recording, but it was running slow. Speed corrected +2.8% and resampled to 44.1 kHz in MATLAB as one simultaneous operation No other changes -ledwhofloyd (Ross), July 2022
07/20/69 Music Hall Revised by Bert13 February 27, 2021
08/31/69 Texas International Pop Festival revised -speed corrected -tracked Ed February 9th, 2021 Notes: This is from a 1st gen reel, the masters are presumed lost. Thanks to Vinnie/June72, Z, Charley, and Ian from The Dogs of Doom for liberating, to Ed for speed correcting and tracking, and to the original taper.
01/09/70 Royal Albert Hall Notes: I did my best to preserve every circulating moment of this show, including small bits hidden on 5.1 files on the Led Zeppelin DVD. Considering the 5.1 mix includes pumped-in crowd noise, this is not perfect and I acknowledge some of these jarring transitions. However, for a completionist mix, this is the best it can be. I also restored flubs and imperfections removed from the DVD - the delayed hits from Page on I Can't Quit You Baby, a flubbed guitar run in Heartbreaker, Bonham not hitting a cymbal in Whole Lotta Love, Page tuning during C'mon Everybody, and Bring It On Home replaced with the mix on The Lost Mixes EP Vol 7 to restore many of the flubs fixed for the Led Zeppelin DVD release. All sources are speed matched to the multitrack mixdown; I Can't Quit You Baby from CODA has its channels inverted to better match the mixing of the multitrack. Z April 10th, 2021
02/28/70 K.B. Hallen Bert September 19, 2016 Speed corrected and retracked Ed October 10, 2020 Note: as with the alternate master > DAT transfer at 32kHz none of the people involved remember anymore whatever happened exactly between the reel master and DAT, all that is known is that it's not a direct master transfer to DAT, the lineage must therefore be listed as unknown.
09/04/70 The Forum Ed January 5th, 2021
05/03/71 KB Hallen Note: same (unknown) taper as Copenhagen 70. As with the 1970 tape the actual lineage is unknown because nobody involved remembers the exact details of what happened between the reel master and DAT. Revision notes: - normalized to 98% - added 4 missing seconds after Gallow's Pole, taken from an alternate transfer Bert - October 15, 2016 Speed Correction Notes: -speed corrected universally by +1.2% because the original recording ran slow -speed corrected based on standard A4 = 440 Hz tuning using the bass as the primary reference because the guitar was not as consistently in tune -did the correction in Audacity on a combined single track created using TAudioconverter, and exported as retracked FLAC files (16 bit-48 kHz) ledwhofloyd (Ross) - October 11, 2021
08/21/71 The Forum
09/13/71 Berkeley Community Theatre * - amplified (original transfer has very low levels) / balanced - speed corrected (original runs 4.5-5% fast) - copied left channel to right on the last 3/4 because of weak right channel Bert13/pernod Monday June 15, 2015
09/14/71 Berkeley Community Theater revised - de-clicked - channel dropouts patched - tracked - dithered to 16-bit transferred by goldenretriever157, revised by Ed, and shared at The Dogs of Doom May 20th, 2021
02/27/72 The Showgrounds Re-speed corrected by pernod May 16, 2015
06/25/72 The Forum 24/96 flac
01/22/73 Southampton University Stairway To Heaven and Whole Lotta Love were switched, most likely for the source edition to fit each of 'Dazed And Confused' and 'Whole Lotta Love' on a single 2nd LP side. The original performance was actually in the order you now hear it. Tape flip/splice in Whole Lotta Love @approx. 00:20:05:14. The source ran a bit fast and not consistently, with the pitch found to be as much as 46 cents sharp, and it has been adjusted accordingly. Thanks to all involved in presenting the extremely fine source edition and all that came before it - without a doubt, one of the greatest LZ live documents ever! This edition - June 21, 2023
03/16/73 Stadthalle 24-bit/48k flac otes: -incomplete recording -tape flip after Dazed and Confused -tape cut edit at 06:26.445 in Stairway To Heaven to remove repeated material, and inverted the waveform before 06:26.445 to match the waveform after -cuts after Stairway To Heaven, at 13:30 of Whole Lotta Love, and after Whole Lotta Love Speed Adjustments: -the original audio ran fast -Dazed and Confused: -2.3% -Stairway To Heaven: -3.3% -Whole Lotta Love: -3.9% -Heartbreaker: -3.7% Shared at The Dogs of Doom - November 2020 Speed corrected by ledwhofloyd (Ross) - March 2022

Lee "Scratch" Perry --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/06/97 Coach House
11/13/06 Neumos

Leftover Salmon --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/04/95 Wetlands

Lenny White --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/25/78 Roxy

Lightnin' Hopkins --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/25/70 Ash Grove Another gem from the TMOQ vault. Audacity was used to clean up the dropouts and other unwanted noises. To make this easier to listen to the loudest claps between songs were removed or muffled. No Eq or noise reduction (except the Dolby B on my reel). Some crackling can be heard in places and comes from the master tape. Tape flip at 21:12 (between songs). Mike Martin 9/2010 FLYING M PRODUCTIONS

Linda Ronstadt --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/21/76 RAI Congrescentrum propylaen's original notes: Received from Hans de Vente as 2 continuous files with a few cuts in between which were fixed as good as possible: The first cut was during the applause at the end of the band introduction, another one during the applause between tracks 18 & 19. Two more cuts after track 19 and after track 20 were fixed by fading out. Support the artists! Buy their official releases, go to their concerts! Trade freely! Do not buy or sell! Keep it lossless! Uploaded to DIME by propylaen in October 2014. Enjoy! Goody's notes: The source of this edition ran quite fast/sharp to various degrees. This has been adjusted to the best of my ability, and there may still be anomalies here and there. I've also done my best to repair and/or remove well over 100 instances of clicking and static, etc. There appears to be a source change at ~2:41 in Track 16 through the end to an audience recording. Therefore, the lineage should probably be updated to say "FM/AUD". This reflects propylaen's comments above, as well as the different color ink in Side B of the scan of the tape provided. Many thanks to all involved in the creation, the capture, preservation, and presentation of the source, previous to this edition! Text updated February 3, 2015.

Linton Kwesi Johnson --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/30/82 Montmartre 16/44.1 flac
04/28/84 UBC SUB Ballroom Notes: Prepare to skank the night away, have your spirit uplifted and your mind stimlutated. LKJ's message is as timely now as ever. This is one of the most intense performances I've seen by anybody, anywhere. LKJ electrified the entire room when he burst onto the stage from the wings and tore into "Want Fi Goh Rave," and the intensity built from there. This recording sounds great to my ears, even though it's the offspring of the lowly but dependable D-6. Blackbeard's bass resonates nicely, and the Dub Band is ultra-tight. Couple of technical things: There are several abrupt cuts in between songs. A little bit was lost in "Come Wi Goh Dung Deh" during a tape flip. There's another small cut in the Instrumental Outro. This show requires two discs. Sorry I didn't name the tracks accordingly, but I hadn't listened to it in quite a while and I was surprised when it turned out to be two discs rather than one. Also, I did not create separate tracks for LKJ's rather lengthy intros to each song. Apologies if that's a problem. I'm not sure about some of the titles of the Dub Band tunes. Any assistance would be greatly appreciated! Oh, and there's a scan of the handbill and a ticket stub for those who like to make artwork. Set the subwoofer level to max and crank up the volume! DONT sell this, only for free sharing ! Enjoy!
10/07/84 Saltlageret
07/11/98 Chiemsee Reggae Fest shn
12/10/00 Muffathalle "The presenter says twice that the show took place on 10 December 2000. When I searched for this show on the web, some sources stated 3 December 2000 as the date. The presenter also says that the show lasted for two and half hours - unfortunately only the excerpt above has ever been aired on Bavarian Radio."

Little Feat --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/01/73 Paul's Mall Thanks to all involved in recording, preserving and sharing this great recording! Text updated for this edition September 17, 2014 - Goody
10/10/75 Fox Venice Theatre Editor's Comments: Although this is originally a mono recording, the two channels are in fact quite different: The left channel exhibits a better S/N ratio and less damage than the right channel. The right channel exhibited periodic clicking caused by some dust particles on the tape head (now repaired). However, taken together, the two channels balance each other out somewhat because of the sight differences in frequency response and despite the slight phase wobble on the old tape. The improvement here boils down to the repair of the periodic clicking and the phase correction which focuses and centers the stereo image. Restored by plaz: - corrected DC Offset errors - concatenated tracks to 2 fragments corresponding to the two sets - phase offset correction: +0.07 msec (left channel trailed by an average of 3 samples [+0.0675 +|- 0.007 msec]) - repaired periodic clicks and a few drop-outs in the right channel - repaired a few pops, some crackle and a few drop-outs and gain fluctuations in both channels - gain normalized and tracked Acknowledgements: Thanks to The Flying M, the original seeder and editor. Many thanks to Prof. Goody for his invaluable input, and to Alex Ford for providing the SHN-IDs and putting the restored versions in this series up on the LMA. Yhanks to this great band for making such wonderful music in the first place; such great song-writing and playing.
05/05/76 Orpheum Theater JEMS is pleased to extend a new round of recordings in collaboration with Boston-area taper Steve Hopkins. Over the years, Hopkins has lent us several of his master tapes to make what we hope are definitive transfers of his outstanding work, which we regard as some of the highest quality audience recordings made in the 1970s. Steve handpicked nine shows for this batch of new, high-resolution transfers and mastering, and our series continues with Little Feat. Little Feat was on tour supporting The Last Record Album, released in the fall of 1975. Three songs from it feature this night: "All That You Dream" and "One Love Stand," both sung by Lowell George, and "Day Or Night" sung by keyboard player Bill Payne. The rest of the set revisits most of the band's better known material including "Rock and Roll Doctor," "Dixie Chicken" and of course the incomparable "Willin'," which features a guest vocal from Charlie Daniels whose namesake band opened the show. It seems obvious to mention that listening to this show reminded me of what a huge influence Little Feat had on the jam bands that followed. While they themselves took a page from the Grateful Dead's playbook among others, the Feat doesn't get nearly enough credit for helping define the sound of the genre. As always, Steve is in an ideal position to capture the set resulting in an excellent recording. Hopkins' tape has circulated before, but we are confident the azimuth- and pitch-adjusted transfer and gentle mastering do provide a welcome upgrade to previous incarnations. Thanks once again to Steve Hopkins for allowing JEMS to present another of his audience captures in a fresh light and for his patience with the process. JEMS transfers a lot of audience recordings from the 1970s and Steve's work continues to stand among the very best. Please show your gratitude in the comments. As always, we deeply appreciate the on-going support of Professor Goody for helping adjust pitch and mjk5510 for handling post production with a steady hand. BK for JEMS
06/07/77 Civic Auditorium Nice of Allen to loan me his old tapes to share with you. Some copies of Allen's recordings do exist out there. This is the first time the masters have been digitized. Not the best sounding recordings, but very decent and these are from the master cassettes. For historical reference only and not intended for resale or any commercial use. Enjoy Flying M Productions (April, 2012)

Little Richard --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/08/91 Greek Theatre
06/08/91 Greek Theatre

Lonnie Liston Smith --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/02/79 Fairmont Hotel 16-bit/44k flac Lonnie Liston Smith is a bonafide jazz cat whose career includes spells with Miles Davis, Art Blakey's The Jazz Messengers, Pharaoh Sanders, Roland Kirk and a host of other legends. In the '70s he formed his own group and eventually signed with Columbia Records in part due to the strength of his crossover potential in the burgeoning jazz-fusion genre. This performance comes from a CBS Records convention in Dallas where a number of label signees were showcased. The short set opens with "Sunburst" from Smith's 1978 album Loveland, followed by "Quiet Moments" from Exotic Mysteries, also released in 1978, "Mardi Gras (Carnival) from 1976's Renaissance," then two more from Exotic Moments: "Singing For Love" and "Space Princess." Wikipedia notes that "Quiet Moments" become a signature track for the Quiet Storm radio format, while "Space Princess" was written by then 16-year-old bassist Marcus Miller. The song was actually pressed up as a 12" for disco play. This excellent soundboard recording was unearthed by By-Tor-X-1 who transferred the master cassette and shared the raw file with JEMS. We did a modest mastering pass to yield what to our ears is a lovely slice of jazz. Samples provided. Thanks to By-Tor-X-1 for sharing this excellent tape, Professor Goody for not only checking pitch but identifying the tracks, and to mjk5510 for handling post production.

Love --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/13/70 Fillmore East "I bought 8 tickets @$5 .50 each, "all of my friends" were there, STUB ATTACHED. I held Right mike,Friend on left held left mike, he kept lowering it to armrest, I kept reminding him to raise it,hence clicking noise and clarity shifts. Orange Sunshine was not only "in the house" but definitely "in the 2nd row" I kept tape of this night "close to the vest" to thwart potential bootlegging, only trading it once or twice in cassette form about 20 years ago, imagine my surprise to see it here. I originally recorded all of LOVE, but due to Grateful Dead using all limited blanks, I recorded over LOVE tape until the DEADS' END. That is why this tape begins where it does, drat it, hindsight, curses, urrgghhh.......... A great example of the awesome Fillmore "ambience" best concert hall sound I ever heard!!! WHAT A PERFECT NIGHT IT WAS, ENJOY..................." Jim

Lucky Dube --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/08/89 Capitol Theatre
07/15/93 BAM Metrotech
08/02/98 French's Camp Notes 1) "Levels adjusted for the first 9 minutes or so to even out the recording. There was something wrong with the audio feed that caused the stage mic to crackle or overload when certain sounds were spoken, like the "s" in the word "roses" or "z" in "Zulu." This was only audible in the banter between songs, and has been fixed with the RX De-crackle plugin. The Reggae On The River Radio announcer had a similar problem which his mic, but that could not be removed so easily. Fortunately, he speaks infrequently." - MHG 2) "Reggae On The River Radio 94.1" broadcasts were live onsite low-power FM broadcasts that I recorded in my truck at the venue campground. "Don't Tell Anyone!" Originally Shared At www.shnflac.net On January 14, 2025

Mahavishnu Orchestra --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/26/72 Symphony Hall (source files shared by: glasnostrd19 - January 2022) lineage: WBCN 104.1 FM live broadcast > tracks 1-3, from unknown master tape > Maxell XLII cassette [rough in places] tracks 4-7 from unknown incomplete reel master > TDK AD cassette > [better quality] tascam 112 > soundforge (16 bit/ 44.1 khz wav) > flac 8 (sb's aligned) Known Faults: A feedback tone during the introduction and continuing into the first song and then there were the random static bursts found thru-out both sources. =-=-=-=-=-=-=-=-= (Flying -M- November 2022) Additional lineage: iZotope Rx8 advanced & Har-Bal 3.7 > Adobe Audition 3.0 (pitch bender) > CD Wave > TLH Repairs include: Remove FM static bursts, filled-in small dropouts, reduced hum and feedback, thumps and bumps, volume and balance, azimuth adjustments (to center the drums on the 2nd source), equalization. After some detailed editing work that static/distortion is gone and the hi-pitched tone was almost completely removed. The completed files were sent to Professor Goody who sent back the speed/pitch-adjustments which were made with the Adobe Audition 3 "pitch bender" tool. =-=-=-=-=-=-=-=-=-=-=-=-=-=-= Thanks go out to Professor Goody for the Speed/Pitch-adjustments Jewel box artwork by ethiessen1, many thanks for the beautiful covers on this and so many other shows. Finally, thanks to glasnostrd19 for sharing the source for this re-master, awesome stuff! For historical reference only and not intended for resale or any commercial use Support the artists and the venues that host live music Buy the official releases and go to a concert Enjoy… -M- (March 2023) FLYING M PRODUCTIONS
03/27/72 Whiskey A Go Go 16/44.1 flac
05/15/72 Hunter College
08/05/72 Central Park
03/11/73 Orpheum Theatre Notes: JEMS is proud to be able to partner with and present some of the choice recordings in the D & D archives. Some of these recordings have been around for years but none of the master tapes or safety copies in some cases have ever been digitized until now. Dave and Donn taped many shows in and around the Seattle area in the 70's and also were contemporaries of some of the JEMS members. Volume 30 is another of Daves brother's master recordings. This one capturing the second show at 10 PM for this night. There is a board recording or at least part of sbd recording for this show over at wolfgangsvault but they have it all wrong over there. The have the early and late shows mislabeled and what is there mislabeled as the early show is not the full show here. It is a mix of 2 different shows(which show the other half that they used for part of Noonward Race until the end we have no idea). This should be the actual full late show here minus missing portions of music due to tape flips/changes.
03/26/73 Paramount Northwest Theatre
05/13/73 University of Ohio JEMS is proud to be able to partner with and present some of the choice recordings in the D & D archives. Some of these recordings have been around for years but none of the master tapes or safety copies in some cases have ever been digitized until now. Dave and Donn taped many shows in and around the Seattle area in the 70's and also were contemporaries of some of the JEMS members. Volume 31 is an upgrade to Volume 11 in that this is a dub directly off the master cassette. This is another recording done by Dave's brother. This show took place on Mother's Day and Mahavishnu Orchestra was opening for Frank Zappa this night.
06/07/73 Sindelfingen
11/30/73 Princeton University
11/14/74 Festival Hall Editing Notes: -transfer was running fast, so speed corrected -started 1.8% fast and stayed there until ~5 minutes into track 4, then transitioned to 2.4% fast ~6 minutes into track 4, stayed there until the start of track 5 where it transitioned to 3% fast -cut after track 6 -track 7 to first 0:36.8 sec of track 8 (cut) was 3.3% fast -after the cut, track 8 resumes as 2.0% fast and it stays that way until the end -seamlessly joined the cut at 0:36.8 of track 8 -there is a cut at 07:41.4 of track 11 -ends with a drum solo so probably an incomplete recording -automatically phase corrected the channel alignment by 0-3 samples -automatically balanced levels -all the edits done with MATLAB except for the joining of track 8 in Audacity Ross (ledwhofloyd), Sept. 2024
08/11/75 Grone Lund Originally seeded by mr_mags on January 6, 2010 mr_mags notes: Here's a very rare Maha MK 2B Show. My trading buddy, agalli, picked this up from his GER connection. I would describe the recording as crunchy with oversaturation (mostly NMW) but nicely "in your face" with JM's guitar highly audible and on fire! I prefer this kind of old recording to a distant & hissy aud from that time. Big Mclauglin Fans might need it whereas lighter ones can stick to the FMs? *This is NOT to be confused with the well circulated show from Kulturhuset in Stockholm on February 7 1975 which featured the larger Mahavishnu ensemble! Additional notes (2024): This is not a straight reseed because agalli resent me the WAV files, but I have not made any edits. I only converted them to FLAC and made a new checksum. There are digital glitches during the first half of track 3. Unfortunately, they are not repairable but they aren't that distracting.
08/17/75 Theatre Antique
10/16/75 Meehan Auditorium this is the only recording I've heard yet from the "inner worlds" era, the last Maha. Orch. album and tour. there were not alot of shows on this tour since Shakti was already under way in mid 75. the quality varies some, mainly because the bass is too loud in parts (and Ralph Armstrong has a loud, strong style of playing) but it comes from a master made with a Sony TC56 cassette deck and unknown model Sony tieclip mike. this is a raw transfer, only level balancing and some individual loud clap reduction was done, no EQ or noise reduction or other processing was applied. this recording has likely seen some tape circulation, but this is the 1st time I know of it being posted. some might find it a bit annoying that there's all of 1 song in this show from Inner Worlds. Others may be glad, since all the rest is from the original lineup repertoire. If you're wondering how many McLaughlin on guitar/synth shows there are, probably more than this, the only one I've heard. he mentions having a "new instrument, a guitar synthesizer" before playing All in the Family. I think the tape flip was before Sanctuary, not sure, but there is just one tape flip (rec. on a 90 min. cassette) there was one of these shows at Brandeis Univ. in Waltham, Mass. around this same time but I've yet to hear a recording of it, or even hear of there being a recording of it. if anyone has it, please post it up. the sound in there would probably not be very good, and not great here either but it's quite listenable sound quality and these Inner Worlds shows are rather hard to come by. John's experiment with the syntar was not a long one. this was a good show too, lots of fire from a hot band. I don't know how many shows they did after this, but it wasn't many. do not sell this recording. trade freely and losslessly.

Malo --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/29/71 Fillmore West Notes: -agalli received this CD in trade -the song "Pana" was officially released on the "Fillmore: The Last Days" box set, but I compared it to all the songs on this and it does not appear here -glasnostrd19 shared a fileset in 2008 that may be a different version of this with a running time of 57:29, describing it as "my copy came reel to cassette, sounds decent but not great" -glasnostrd19's version from 2008 did not have a setlist, but it was banned out of an abundance of caution that it might contain the official track -I don't know how this version via agalli compares Jan. 2025
04/10/72 Village Gate We are pleased to continue our series of releases from a long time West Coast taper/collector that passed away last year. He transferred his extensive archives to CDR years prior to his passing and then passed it to a close friend. His friend has been involved in the Bay area music scene for the last five plus decades and understands the importance of getting these historic shows out to the collector’s community. We are working closely reviewing the shows and researching current circulation as well as upgrades. We temporarily take a break from the fabulous riches of Carlos Santana to a real rarity featuring Carlos' brother Jorge Santana's band Malo. Very much in the same vein as Santana though with an added horn section ala Blood, Sweat & Tears and Chicago, Malo featured some of the very best musicians in the San Francisco scene. According to WBGO radio host, musician and band leader Bobby Sanabria, Malo's sound can be summed up as..."picture Blood Sweat & Tears fused with Chicago, fused with Afro-Cuban rhythms and guitar driven rock. It was Santana on steroids." Maybe not quite "santana on steroids" but you get the picture. Their January 1972 release, "Suavecito"", stayed in the Billboard Top 20 for 10 weeks peaking at #18. Jorge passed away on May 14, 2020 of natural causes at the young age of 68. This is the second Malo show to hit dime, the first being their set from the 1971 Fillmore West closing FM broadcast banned for containing "Pana" which made it onto the official release. There are a number of folks we are indebted to for access to this exciting new archives, the anonymous West Coast collector, may he rest in peace, his friend that had the motivation and understands the need to get these historically important shows into circulation before they were lost forever and a huge thanks to dime member “davmar77”. He did not currently have the bandwidth to facilitate such an undertaking at this time and put us in touch...this is how dime should work. And finally, a big thanks to Goody, our pitch master, for his continued to support of all our historic releases. Dimers don't wait until it's too late to get those archives into , we are here to assist getting your precious archives out for all to enjoy...and let's work to have No Tape Left Behind. mjk5510

Manu Dibango --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/25/94 Santa Monica Pier 16/44.1 flac
08/25/94 Santa Monica Pier vanillag NOTES (1/25/2023): --BIG UP, much thanks & Jah Love to whomever originally recorded this Manu Dibango 1994 show. Also much Jah Love to Jeremiah's friend for rescuing these tapes from the thrift store, Jeremiah for sending them to dubwise &, of course, dubwise for transferring & sharing them with us all. Absolutely Appreciated & sounds fairly incredible!! --https://www.latimes.com/archives/la-xpm-1994-08-24-ca-30504-story.html --this concert was part of the free Santa Monica Pier summer concerts & was entitled the "10th Annual Twilight Dance Series" --I found & added the poster for this series --https://www.santamonicapier.org/store-twilight --there was this comment on the thread of the dime torrent of this by dime user tracybjazz: "First, note that the torrent tracks are out of play order. This was a two set performance and my guess is that there was a tape flip and the cassette label sides were mislabeled. So to fix that, Torrent Tracks (T) 1-4, should be moved after T10. In order words, The first track of Set I is actually T5 in the original torrent." --I have renamed the FLACs to the correct order to avoid confusion moving forward --In conjunction with the above, I created a new md5 checksum file so everything would check out properly with the new numbering, etc. --created an ffp checksum file --added the ffp fingerprints to the text file --the last 16 seconds of t01 are repeated exactly as the first 16 seconds of t02 --added more detail to the venue info --I added the setlist info to the text - BIG thanks to both dime users tracybjazz & manuzoom for their initial offerings to the setlist here...that gave me a roadmap toward finding everything...something I would have been in the dark much longer without --I corrected some song titles toward how they appear on the original albums --I added the band members info...not 100% on this 'George Wayo' on keys as I cannot find any record of him online...possibly this was 'George Acogny' who was an arranger on Manu's current album at the time ("Wakafrika")--if anyone knows this cat & can confirm or deny him, please let us all know.

Marcia Griffiths --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/15/83 The Arena

Maria Muldaur --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
07/21/74 Hollywood Bowl 16/44.1khz Flac 1

The Marley Brothers --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/10/24 Sleep Train Pavilion

McCoy Tyner --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/11/76 Focal Point *Comments: The speed of the source ran rather fast; the pitch was between approximately 46-58 cents sharp, variously. There is a persistant hum throughout, accompanied at times by poor radio reception and distortion. Despite its flaws, this is a powerful performance and a valuable historical document. Many thanks to Jack for his source. Goody 8/17/11; 3/6/20; additional tweaks and adjustments 3/31/24 RIP Alfred McCoy Tyner (December 11, 1938 - March 6, 2020)
03/23/76 Village Vanguard The late and much missed MM recorded this show from the audience using an unknown mono cassette recorder. A copy of his now-lost master was made using a conventional bias Maxcell UD cassette tape not long after the show, apparently without Dolby and by MM. That copy was digitized in 2021 using a JVC KD-D55 cassette deck and Goldwave.
10/09/76 State University of New York FROM DC, our anonymous donor: The late and much missed MM recorded this show from the audience using an unknown mono cassette recorder. A copy of his now-lost master was made using a conventional bias Capitol cassette tape not long after the show. That copy was digitized in 2020 using a JVC KD-D55 cassette deck and Goldwave. One channel of the cassette was much stronger than the other. The stronger channel was copied and pasted over the weaker channel via Goldwave to create a true mono recording. Goldwave was also used to boost the overall volume of the recording and for minor edits.
05/18/77 Paul's Mall
03/30/78 Paul's Mall a masters of jazz production. do not sell this recording. share freely, losslessly and gaplessly.
04/13/78 New Orleans Jazz & Heritage Festival Notes The recording is from the Tommy Stevenson collection. Special thanks to his son, Thomas, for locating the surviving masters and loaning them out for transfer. Transferred by Richard Russell, March 2026. This recording was in the beginning of a 90-minute cassette. It followed a recording of the opening act, the New Dave Brubeck Quartet. (Afterward was a recording from the next day.) Track 2 is cut at 21:09 due to the tape flip.

The Meditations --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/01/86 Woodbury Ski and Racket

The Melodians --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/10/11 Soul Rebel Festival This Soul Rebel Fest. had many bands from many genres. I only recorded TM. The Yellow Wall Dub Squad opened for TM and played about 5 songs. Show did not sell out well. Sound at the venue was good. Recording sound is good. Crowd noise can be heard but is minimal.

Michael Rose --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/10/92 El Mocambo "Another Classic From The Dubwise Garage Collection and The RASJAY Archives!"

Mickey Hart --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
??/??/81 Prairie Sun Recording Notes: Two 1981 studio recordings of Robert Hunter/Mickey Hart compositions. They sound very similar to the original arrangements of these two songs recorded in the 1972/73 era for Mickey Hart's unissued "Area Code 415" project (AKA The Marin County Collective), but with the High Noon band personnel instead. They certainly used those much older arrangements as the blueprint for these rerecordings. "Fire On The Mountain" features Steve Miller guesting on lead vocals. "Mad" features Norton Buffalo on lead vocals. As far as I know, these two tracks are new to digital circulation as of January 2021. - Alan Bershaw

Midnite --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/31/08 Bitterzoet

Mighty Diamonds --- Approximate Hours: 2.5
Show Date Venue Media Type Media Count Sound Quality Notes
07/16/76 Concert Shell Central Park Truly no information about this one. I taped it but neglected to actually write down the date. It was at the Schaefer concert in Central Park, NYC in 1976. Twelve tracks, the first couple are U-Roy, with the Mighty Diamonds backing up. Quality is pretty good but it was recorded on a small Sony, probably the TC55, rather than the 152 or 153 that I normally used. dgk
06/01/89 The Strand Notes: --- Audio was running fast (.63 semitones) and was speed corrected --- 0:57 to 2:29 of Have Mercy suffers from extreme wow and flutter --- Thanks to the taper for this recording --- Thanks to John "Dubwise Garage" Dubois for the transfer --- Thanks to the Mighty Diamonds for existing
08/04/90 French's Camp
10/24/91 Chestnut Cabaret
04/25/95 The Ritz
09/05/95 Slim's FLAC 16/48khz 1
07/12/99 The Edge 1 This is a rich, full recording. Do not pass it by. The Edge was located at the former River's Deck Cafe, 4100 Main Street, in Manayunk, for a few years starting in 1998 or so. It was a 7500 square foot space, split in two, with a nightclub on one side and a bar/restaurant on the other. No idea how long it lasted, but it seems to be a boat dealership now. Enjoy! --mhg :: 2021-04-02

Mike Oldfield --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/25/73 Queen Elizabeth Hall iZotope RX6 advanced was used to remove a loud 50Hz hum and to remove a few ticks and pops. Also reduced the volume of the radio commentator as he was so loud. Borrowed this Reel to Reel from my friend Dave Freshman - thanks Dave A very quiet concert except in a couple of places where it gets nice and loud. Some hiss but a major improvement over the versions circulation prior to this copy. For historical reference only and not intended for resale or any commercial use. enjoy -M- (9/2010) (3/2020 - 50 Hz hum reduction) FLYING M PRODUCTION RECORDED BY FANS AND SHARED WITH FANS TRADE FREELY BUT PLEASE DO NOT SELL

Miles Davis --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/24/60 Tivoli Konsertsal
07/25/63 Theatre Des Champs Elysees
07/15/64 Maruyama Ongaku-do Hall
10/03/64 Johanneshov Isstadion
10/08/64 Stadthalle I had two CDs coming from different sources with mixed setlists between the first and second show, with some overlaps. I took the time to reconstruct both setlists in the way the were played that evening. Here you have the whole thing except for one track of show 1. The concert is magnificent and the quintet that played with Miles in 1964 astonishing. That was the first year of the second great quartet that lasted untill 1967-68. The source is a very good radio broadcast. If you think that this music was performed nearly 50 years ago... ldb
05/21/66 Oriental Theatre
04/07/67 Harmon Gymnasium, University of California
12/05/68 Jazz Workshop
11/09/69 De Doelen
02/21/70 Hill Auditorium, University of Michigan with John McLaughlin
04/24/70 Greek Theatre
07/06/70 Wollman Rink, Central Park
10/07/70 Tonight Show, NBC -TV Studios
11/14/70 Alexander Hall Previously circulated / mislabeled as "Late 1970 / Unknown Venue, Petersburg, NJ"
11/05/71 Wiener Koncerthaus
11/06/71 Philharmonie
11/08/71 Tivoli Konsertsal
01/12/73 Village East
04/12/73 Aycock Auditorium, UNC-Greensboro
04/13/73 Crampton Auditorium, Howard University The Davis Group, along with Roland Kirk, played two concerts at Howard University on this date, one at 7pm and one at 11pm. The venue was the Crampton Auditorium on the campus of Howard University.
06/19/73 Shinjuku Kohseinenkin Hall Revsions A: All tracks: - traimmed and concatenated each track - restored clipped peaks and renormalized gain to 0dB independently for each set SET 1 [44:52] 1: Turnaroundphrase (12:44) - removed 15.8ms dropout at 6:12 (no music missing; file length changed) 2: Tune in 5 (9:24) - repaired crackle at 5:58 and 6:35 3: Right Off (1:19) - attenuated applause at start of track 4: Funk (10:43) - repaired click at 0:15 - repaired crackle at 0:21 - repaired gain fluctuations at 1:44-5 - repaired 9.9ms right-channel gain drop at 4:03 - repaired click and crackle at 6:51 - repaired click at 7:16 5: Unknown F (10:39) - repaired 2 click at 10:05 - repaired gain fluctuation at 10:20 - attenuated closing applause SET 2 [45:34] 1: Ife (22:15) - attenuated opening applause - repaired small pop in right channel at 0:23.497-9 - removed 15.4ms drop out at 3:26 (no music missing; file length changed) - repaired pop at 5:52 (stubborn pop remains but is less audible) - removed 15.4ms drop out at 3:26 (no music missing; file length changed) - repaired 4 clicks at 4:01-2 - repaired 2 clicks at 4:22 x thud at 5:52 (not repaired) - removed 11.4ms drop out at 6:58 (no music missing; file length changed) - bumped up left-channel gain by 0.5dB (11:48-15:32) - removed 11.2ms drop out at 13:02 (no music missing; file length changed) - repaired pop and clicks at 15:58 - repaired clicks at 16:28 - removed 15.2ms drop out at 17:15 (no music missing; file length changed) x repaired crackle and pops from 18:58-19:09 (heavily damaged segment; some light crackle and thuds remain) - removed 12.5ms drop out at 19:16 (no music missing; file length changed) - repaired pop at 19:20 - repaired crackle and pops from 19:20-19:26 Track 2: Aghartha Prelude (9:48) - removed 11.4ms drop out at 3:11 (no music missing; file length changed) - repaired pop at 8:19 Track 3: Zimbabwe (13:30) - removed 16.3ms drop out at 0:43 (no music missing; file length changed) - increased gain of left channel by 1.2dB from 1:19-2:28 - repaired click at 1:57 - repaired pop at 3:39 - repaired pop and crackle at 4:24-5 - repaired pops at 4:34 - repaired pops at 4:41 - repaired pops at 4:52 - attenuated closing applause - speed correction: -10 cents (all tracks) Created new revision md1973-06-19c (Source A, Revsion B [TTD Edition], June 22, 2019): All Tracks (new edits by plaz): - extracted and checked files (see log) - removed small DC offsets in all tracks - repacked to flac(lvl8) - updated documentation and created new fingerprint and checksum files
06/20/73 Shinjuku Kohseinenkin Hall
06/20/73 Shinjuku Kohseinenkin Hall
06/28/73 Chimin Hall
07/10/73 Rainbow Theatre
07/16/73 Parco delle Naiadi add.edits.plaz: - smoothed out gain fluctuations near start of track 2 - balanced channels - repaired clicks, pops and drop outs - attenuated close applasue Inamorata 24bit processing/remaster: - Inverted right track as channels were phase opposed - Variable phase correction: +0 to +2 samples in right track - Pitch correction: set 1 +90 to 100 ct, set 2 +90 to 105 ct (ProTools LE) - Repaired clipped applause (Izotope RX) - Further smoothed levels (ProTools LE) - EQ: raised high frequencies by approx. 6 dB (more would overemphasize existing high-level distortions) - Declick, decrackle and NR filters at faily low settings (Izotope RX, ProTools LE)
10/27/73 Konserthuset NOTES to avoid any form of compression I used fmpeg -codec copy command for both the audio and video. the two separate tracks were then concatenated into a mp4 container using ffmpeg. I believe I've seen a unknown gen vhs copy from this show circulating but I assume this should be an upgrade.
11/01/73 Berliner Philharmonie
11/03/73 Stadthalle Notes: - soundboard recording - frequency response out to > 14khz with little hiss, nice mix, though as typical it seems some instruments (esp. bass) sound somewhat distorted - sonically this is a very clear recording so folks who prefer excellent sound quality might want to grab this one - d1t01: music starts without any warmup or tuning intro - d1t02: ~5:20 might be a possible drop out that has been edited, causing recording to abruptly change - QC by mfv
11/07/73 Dom Sindikata This is another fantastic recording of the Miles Davis Septet from 1973. This time they were broadcasting live from Belgrade before continuing the tour through Italy, Spain, France, and England over the following two weeks. The 2nd CD of the bootleg "Another Bitches Brew" is likely sourced from a station reel, or else it is a near-perfect FM>Reel capture. The frequency response certainly indicates a reel and the absence of noise suggests it my be the master tape. In fact, the easily audible noise during the quietest segments is from a guitar amp (left channel). I'd guess the lineage is station master reel > ? > CD bootleg. illman's version is the same as the bootleg CD except for the tracking. There wasn't much it needed in terms of audio restoration, and flambay says the speed is correct. I have, however, made a few adjustments and repaired the aforementioned "minor anomalies" throughout this recording, as follows: - balanced: R-channel +1.30 dB - repaired clicks and pops - repaired distortions - gain normalized and retracked There were a lot of inaudible clicks that nonetheless affect the music. For example, certain guitar notes or stream of notes that sounded distorted, now sound completely natural once a stream of embedded clicks was weeded out. So while you couldn't hear these clicks directly, you did hear their affects as distortion. Other clicks sounded like offbeat drum hits, but when repaired, cleaned up an entire drum roll. In other places there were small to large pops during the quieter segments These types of flaws were likely caused by microscopic dust particles on the tape heads as displayed by the periodicity. These flaws, to the extent that I could find them, have all ben repaired. Now it sounds better, I'll give it an A. Seeded to dimeadozen.org, September 2010. -- plaz
11/15/73 Palais des Sports Edit details (Audition & all sources unless indicated): Converted to dual-mono using best sounding channel Complete phase inversion (sources 2 & 3) Individual phase inversion of short patches throughout Clip correction with -2dB level reduction (source 3) Stitched together best quality parts to give complete concert Sharp cutoff sub-bass filter below 30Hz 50Hz & harmonics notch filter Corrected volume fluctuations thoughout DC offset correction (Nero) Tracking (Nero) Flac Tags (Tag & Rename) Flac 6, decode check & md5 (TLH)
11/15/73 Palais des Sports
05/25/74 Theatro Municipal
06/01/74 Theatro Municipal
06/02/74 Theatro Municipal
01/22/75 Shinjuku Kohseinenkin Hall Release History (jkeisers notes): - To my ears this is still the best extant version of this recording. - This recording was donated by plaz for one of the CDR Trees that ran as side projects off the old MF list. - This is not from a CDR copy (cdr(x), for the 1975 tree, plaz was a source, root, editor, compiler on a number of the MF CDRTrees. - text file updated a bit
01/30/75 City Hall
02/07/75 Shinjuku Kohseinenkin Hall Restoration Notes: - restored clipped peaks - rebalanced set 1 relative track gains using the noise-prints between tracks as a guide (tracks had been normalized separately) - reduced spectral noise by 1.1 dB (1st gen noise print) - reduced broadband noise by 0.9 dB (master noise print) - corrected channel phase offsets for each fragment - local azimuth realigments as necessary (corrected fluctuations of the handheld "stereo caseette-corder" with automatic level setting/limiting) - repaird drops-out, dampend claps between tunes - edited out random digital silences (no muisc lost)
03/22/75 The Playhouse, Hofstra U. remaster notes: this was posted on Jan. 17, 2009 by jkeisers at torrent #232308. that torrent was no longer on the tracker as of this posting. I have balanced the levels, which were uneven by about 2 db louder on the right side, monoized a short section in track one (left channel dropout) and adjusted some level changes in source recording in the 1st couple of minutes of track 1.
05/03/75 Paul's Mall
06/26/81 KIX Club
06/28/81 KIX Club
07/05/81 Avery Fisher Hall
07/18/81 Savoy Theatre
07/28/81 Warner Theatre from "DC" our anonymous donor: --Live at the Warner Theatre, Washington DC, July 28, 1981, from the left orchestra within the first 15 rows, on a conventional bias cassette with a Sony TC-150 mono recorder with ALC. A stereo recording of this show from another taper also circulates.
09/25/81 Hollywood Bowl
04/13/82 Konserthuset 24/96 FLAC
08/16/85 Pier 84 -original audio shared by greenone on June 7, 2010 -original audio was running consistently 2.3% fast so speed corrected August 16, 2025 -etree's listing for this show reports more songs, but this is all the audio that was shared
11/01/85 Philharmonie Unlike many, what a wonderful surprise to get the complete continuous concert with no announcer intrusion, which is the respect that should always be shown to this great artist / concert. It is the best possible sound quality available and should now be the true definitive edition. Note that the stereo mix is typical of older Miles concerts, with little in the middle and instuments bunched towards the left or right speakers and little in the middle, which could be fixed. However it is not too distracting and you do get used to it over extended listening. TomP post on Dime, May 2016...Enjoy !! -------------------------------- Edit details (Nero 8 unless indicated): Complete phase inversion (Audition) - unlike the original 192k broadcast Phsae offset correction of track 01 patch, moved L-channel -6 samples Volume increase 10dB Cross-mixed channels 99:1 ratio Corrected balance variations in most tracks Flac Tags (Tag & Rename) Flac 6 + SBE / decode check (TLH)
08/17/86 “JVC Jazz Festival” – Hollywood Bowl 16/44.1 flac - JVC Jazz Festival performance - "Carnival Time" cuts in - LA Times article: https://www.latimes.com/archives/la-xpm-1986-08-19-ca-17170-story.html
06/15/89 Coach House

Moby Grape --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/25/66 Fillmore Auditorium Comments: Moby Grape's Fillmore debut. Direct stereo line feed with an additional room microphone mixed into the left channel. Gurman's reel was dubbed onto recycled tape. It didn't get 100% erased in the process, so bleed through of a previous recording can be heard during a few quiet areas between songs and a substantial noise floor is present throughout. Still, this sounds substantially clearer than every other source I've encountered. 7.5ips master reels of the other acts on the bill (Big Mama Thornton & Jefferson Airplane) survive in Bill Graham's archive, but the Moby Grape masters are presumed to be lost. Alan Bershaw Notes: - Almost all of the background noise has been removed - I also repaired a number of small dropouts - The first track sounds a little rough but the sound improves as the set moves along. Thanks to Alan for passing this to me. edited amd mastered SIRMick February 2017

Moody Blues --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/23/72 Madison Square Garden There must be a name for the condition where you have many more of a thing than you can possibly need for the rest of your life but you keep on acquiring. When presented with the opportunity to add a small cache of uncirculated audience recordings circa 1971-73, JEMS simply couldn't say no. Master cassette tapes from this era are not common. The format was still in its early stage and far fewer folks were even attempting to covertly record concerts in 1971 and 1972 compared to just a couple of years later. The cassettes that were passed along to JEMS were all made by the same NY/NJ-area taper and this Moody Blues show felt like a good place to start. The band did two shows there on October 23, which was something of a career milestone at the time, one which the band has reflected on in later interviews. We can't confirm if this is the afternoon or evening performance, but our gut says it is the late show. The recording itself bears all the hallmarks of an early, non-professional cassette recorder, with narrow fidelity and limited body. That being said it otherwise clear, steady, undistorted and has a notable lack of close audience noise or hiss. For an under-documented era and early cassette technology, its not half bad. Samples provided. The MSG recording also captures the Moody Blues at what is arguably their commercial peak. The band's album Seventh Sojourn had just been released and became their first US No. 1. The Moodys were also riding the success of the single "Nights In White Satin," originally released in 1967, but re-released in the summer of 1972 and eventually climbing to No. 2 on the Billboard pop chart. It's no wonder they were able to play two shows at MSG. Thanks as always to our key JEMS collaborators including Professor Goody who made sure the pitch was adjusted and mjk5510 who handled post production and setlist creation. More soft-rocking, early '70s masters are coming soon. BK for JEMS

Morgan Heritage --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/18/08 Club Lido short show. bad venue force the band on late then cut them off early ....

Muhal Richard Abrams --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/07/74 Montreux The reviews at the time of this show ranged the gamut from majestic to mockery, from mystical to masturbatory. It certainly can be viewed all different ways, for after repeated listenings I am still not quite sure of what the master had in mind. If you listen carefully to the audience, they are also undecided. Some are applauding wildly, some are razzing him, and some are outright booing. I do think this performance should be viewed with a certain sense of humor. I do think, along with the outright mysticism of the first part of the set, there is some tweaking of the audience. Well, to be more honest about it - I think the audience's razzing of Mr. Abrams comes second. Mr. Abram's razzing comes first with the bird whistles. You'll see what I mean. Mr. Abrams plays piano, electric piano, a gong, and a sifflet for the bird calls. Thanks. Your comments are welcome. I didn't provide mp3 samples this time around for a very deliberate reason: I don't *want* you to know what you're getting into. I want you to be surprised. Enjoy! A DoinkerTape

Mutabaruka --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/26/85 The Music Machine
10/24/91 Chestnut Cabaret
07/03/93 23 East Cabaret

The Necks --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/05/13 Cafe OTO Great updated fastone artworks included (thanks !!) used to create flac tags with Tag&Rename Quality: EX as always ===================== An excellent gig by the great Necks, from a 3-day Cafe Oto residency, we now add the second set (probably thanks to Dimers Email requests) so I hope folks like it. TomP post on Dime, April 2014...Enjoy !!

Neville Brothers --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/04/86 Fairgrounds (Jazzfest) 5:40 PM on the main stage. Enjoy! --mhg :: 2025-09-01
12/21/89 Madison Square Garden Working our way through TapeTyrant's Master tapes for the crazy good "TapeTyrant Master Series" one thing has become clear. Not only does he have an outstanding master archives, he also has a very impressive archive of uncirculated 1st gens and soundboards. Looking for the best way to present those since they can't be part of the master series but critical to get out none the less, we landed on a TapeTyrant second series to be known by the creative title the "TapeTyrant Archive Series". This series will feature uncirculated Soundboards, low gen (mostly 1st) uncirculated audience captures and upgrades. Once again we are pleased to offer another stellar uncirculated soundboard. Volume 26 features the Neville Brothers opening set for the WNEW Charity Christmas Concert. Bonnie Raitt and Little Feat also played and we will revisit this complete show as part of the Two Of Us series. We owe TapeTyrant a big debt of gratitude for allowing me the honor of mastering and sharing his archives with all of us in what I hope are the definitive editions. Thanks to Goody for his continuing pitch support. Get into those closets, basements and attics and let's get those uncirculated captures and upgrades out! Artwork is included. mjk5510

New Riders of the Purple Sage --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/26/71 The Palestra Notes: - Lots of FM crackle; also numerous drop-outs in the music where it appears the broadcast transmission was lost. - Intro track and first 12 seconds of Workingman's are mono from the lo-fi Beta track. - The final minute of Last Lonely Eagle is obscured by loud radio static. - One cut in Delilah, and two cuts in Hand Jive, unknown amount missing. - Thanks to Doug Rice for expert transfer from Beta, and to Alan Bershaw for assistance! Announcement: Despite its inherent flaws, this previously uncirculated NRPS set is a strong performance featuring Jerry Garcia toward the end of his tenure in the group. At the moment, this highly flawed FM broadcast is the only source of this elusive set, but that's only temporary! Official NRPS archivist, Rob Bleetstein, is preparing an official release of this set, sourced from the master soundboard reels, as we speak! That's right, just like The Grateful Dead's set (which was partially released as Download Series Volume 3), the NRPS set master reels do indeed exist and will see an official release later this year, or early next year. You heard it here first! So, enjoy this in the meantime, but consider it little more than a sneak preview of the real deal and what will no doubt be one of the best NRPS archival releases yet!
08/29/73 Paul's Mall FLAC 16/44.1khz

New York Dolls --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/03/73 Madison Square Garden Continuing to mine the personal archives yielded a nice surprise this week. The New York Dolls at the Felt Forum opening for Mott The Hoople. While researching this show I found what appeared to be the most common circulating version cuts off during "Trash" and is missing the last two songs. After previewing the incomplete version on youtube this copy out of my archives is not only complete but a substantial upgrade. This does not mean a complete version has not been shared in the past but I was not able to easily find a source for it. I would argue this is a vitally important show to Rock & Roll history. the forerunner to punk rock, the New York Dolls influenced countless band and helped launch a whole genre of music. Their rising star would be fleeting after Mercury Records dropped them and Malcolm McLaren would destroy their image within a year. What he was able to do with Sex Pistols a year later completely backfired with the Dolls. On this night they were home, in their element, in front of an adoring NY crowd supporting probably the greatest glam-rock band ever. Todd Rundgren was working with the band at this time and attended this show, in the notes for the posting I found it mentioned he introduces the band. However, a comment on a forum board noted that Todd introduced Wolfman Jack who introduced the band. I'd say it's clearly Wolfman Jack at introducing here and not Todd Rundgren. The capture is very good for the era and what was likely an extremely loud show, it is a vital historical document. Thanks to goody ensuring we are running at the correct speed, the other versions I previewed run extremely fast. Artwork included and samples provided... mjk5510

Nicky Hopkins --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/05/91 Sweetwater

Old & In The Way --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
06/06/73 Capitol Theater 24/96khz FLAC 1 A+ Lineage notes from Pat Lee: "The MR was recorded half track at 7.5 IPS which I believe is the format used for Nagra decks. The playback deck we used was a Sony TC-388 reel which in 4 track mode plays back both tracks even though it uses a 1/4 track methodology. The 1/4 track head does not fully capture the width of a 1/2 track recording thus not maximizing the transfer possibilities. We should have used a half-track machine even though we did not have access to one and were also dealing with some time pressure."

Old And New Dreams --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/02/79 Jazz Showcase The late and much missed MM recorded this show from the audience using an unknown cassette recorder. A copy of his now-lost master was made using a TDK SA 90 high bias tape and Dolby C not long after the show. That copy was digitized in 2021.

Oregon --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/09/77 Brevard Community College Goody's Speed/Pitch-adjusted Remaster via jswetch Total Runtime: 1:25:08 Covers by ethiessen1 (Thanks!) This edition - January 2, 2024
04/07/80 Golden Bear This is a previously uncirculated master recording of Oregon at a small night club in Huntington Beach, California. Shortly after this concert was recorded, copies were given to many of my friends. Since then, this recording has been out of circulation. The sound is amazing; and the music is classic avant-garde Oregon. I decided to bring this out of my collection because I was curious what it sounded like after all of these years. As I rediscovered, the sound quality is so good, and the music is so delicate at times, that I decided that this recording should only be heard in 96Khz, 24-bit sampling rate. I can definitely say, that this concert will not disappoint Oregon fans. The recording is flawless, and the material is great. On this recording there is: * No FM Broadcast * No compression * No bogus hum * No songs interrupted by bad tape turns * No drop outs * No tape hiss * And 60 db of dynamic range!
07/08/82 Spectrum Notes: This recording proved to be Mono, with each channel having different levels. The right channel had the better sound of the two, so it was copied and pasted to replace the left one. Several offsets were used to correct the speed/pitch of the source as best I could. Thanks to all involved in providing this excellent and generous show from which this edition was sourced! Goody 11/11/11
06/22/83 University of Stuttgart a "urschrei" recording # 007 a hanwaker transfer and mastering a upload to dime 2025-09 by hanwaker cover work by lauramareike (thanks!) thanks as well to jswetch for his invaluable help in facilitating this, and, of course, to hanwaker for bringing us this great new tape! text updated for this remastered edition - october 24, 2025 by goody
04/19/89 Theater Of Living Arts

Ornette Coleman --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/27/87 Verona FLAC 16/44.1khz
11/12/94 Masonic Auditorium Comments: - This was a multimedia event which included the spoken word, a dancer and a demonstration of body piercing. Thanks to David Gans for providing this source. Thanks to Charlie Miller for making the transfer. edited and mastered SIRMick March 2020

The Other Ones --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/15/00 FleetCenter A fine recording of a terrific performance with excellent jamming and transitions from the get go. At some point during track 9, the Dark Star jam, Bob and Mark walk off stage. Other recordings track that separately, but here it is just one track. Enjoy! --mhg :: 2026-03-14

The Outlaws --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
07/24/78 Anaheim Stadium FLAC 16/44.1khz 1

Pablo Moses --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/30/86 The Catalyst FLAC 16/44.1khz
04/10/97 Liberty Lunch
07/05/14 Moe's Alley

Painkiller --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/26/91 The Ritz notes: no equalisation, no compression, no effects; recorded from front row of balcony facing LHS speakers approx 20m from stage; missed a little of the first track which may have been an intro or warm-up; not for sale or commercial exchange, for trade or give away only

Pat Metheny Group --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/21/76 Jazz Workshop
07/31/81 Bushnell Park otes: This recording was transferred and shared by doctorzap in 2010, but I don't have that version to compare. Steve did tell me that the levels of doctorzap's transfer were too hot, and this transfer does not have that problem. -original audio was phase inverted (might have been recorded that way), so I fixed that -automatically phase corrected the channel alignment -speed corrected because: -Track 1 started 2.1% slow, then near the end of track 2 it transitioned to 1.95% slow. Then about 6 mins into track 3 it transitioned to 1.3% slow, and 11 mins in it transitioned to 1.55% slow and stayed there until the end of track 3. -Track 4 was 1.7% slow. Near the start of track 5 it started getting faster and track 7 ended 1.45% slow. *The audio was only resampled once to simultaneously speed-correct and bring it to 44.1 kHz -There is some noticeable frequency wobble, particularly during track 3. In case anybody ever feels like trying to correct that, I am also releasing the non-speed corrected 24/96 transfer. Ross (ledwhofloyd), Feb. 2026
11/04/84 Warfield Theater A fine recording by Dr. Bob. Foward March cuts in. Tape flip after First Circle, no music lost, and during Are you Going With Me?, which required a cross fade that is noticeable. Naked Moon was written, Metheny says, "after the gig two nights ago." Enjoy! --mhg :: 2025-03-18

Pat Metheny Trio --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/14/92 Festival "Jazz In Marciac" Recorded, digitized, prepared and shared on Dime by finkployd49 (December 2021) *** NOT FOR SALE ***

Pat Metheny, Jack DeJohnette, Dave Holland & Herbie Hancock --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/23/90 Academy of Music Known Faults: -Parallel Realities: splice Welcome to Volume 155 of our series featuring the master recordings of dime member "Tapetyrant". The series will predominately feature captures in the Northeast and Southern California areas. We will touch on multiple genres with a strong focus on Jazz Fusion, New Wave, and Rock. Tapetyrant was an active taper in the 1980s and much of the 1990s before, like many of us, hanging up the mics. What he captured during that time is uniformly excellent quality and his master tapes have been safely stored. Some shows may circulate from lower-generation copies but most have remained uncirculated until now and have never circulated directly from the masters. Before DAT, the heavy lifting was entirely done by a Sony D5 with mainly NAK 300, and taping was serious business, acquiring the best seats possible and working to keep neighbors in check. TapeTyrant taped this lineup, also known as the Parallel Realities Quartet, on a number of occasions. The show was advertised as "DeJohnette, Hancock, Holland, Metheny" and the subsequent video release titled the same so that is what we have chosen to go with for this release. The Late Show which was broken into two sets, both the early and late shows were video taped and portions of this late show were subsequently released on "Jack DeJohnette, Pat Metheny, Herbie Hancock, Dave Holland – In Concert: Recorded Live At The 1990 Mellon Jazz Festival". We are now able to enjoy the complete Late show in excellent quality. Thanks to Goody for his continued pitch support on our historic releases. Ongoing thanks to "Tapetyrant" for doing such a great job capturing these historic shows, and for reaching out and entrusting me to present his excellent work for all to enjoy for decades. We are indebted to his generosity, tapers don't let those tapes and your hard work get lost to the ages, there are plenty of folks to get in touch with here to help get them out, we're all working to leave no tape behind. Artwork is included. mjk5510 and TapeTyrant

Patti Smith --- Approximate Hours: 3.75
Show Date Venue Media Type Media Count Sound Quality Notes
12/20/75 Bijou Cafe
03/09/76 Ford Auditorium FLAC 16/44.1khz 1 A++
03/27/76 Tower Theater
01/23/77 Curtis Hixon Hall You're probably all bored now with the plethora of Patti that gets upped here, so I'll try not to put up too much more after this. However, this one was requested by durian1 some time ago, and although better late than never, I figure I'd stick to my promise even if it's about a day off its anniversary date. This show circulated in somewhat limited fashion amongst Patti collectors via the taper almost twenty years ago, and may have subsequently surfaced on EZT although I can't find an appearance of this after 2004. Neal Mersky from local station Quad 102.5 introduces the Patti Smith Group in this opening set for Bob Seger and the Silver Bullet Band. For those who don't know, this was the show where Patti twirls around in literal fashion during the middle of "Ain't It Strange," before the prophetic verses of the song which she never gets around to singing: I spin, I spiral, and I splatter Hand of God, I feel the finger, Hand of God, and I start to whirl And I whirl, and I whirl, Don't get dizzy, do not fall now. But OUCH -- fall she does, taking a nasty tumble from the stage, as you can hear some folks near the taper's mic acknowledge and gasp. Her personal onstage faceoff with God put the brakes on an European tour that was to take place after this accident, and she wouldn't recover well enough to perform until April when she was back at CBGB and the Mike Douglas Show. Sound on this is rather lo-fi, but listenable. "Free Money" is cut. Many thanks to Lee for taping this back then and most importantly for sharing this piece of PSG history. I think the Bob Seger set may have also one passed by on the EZT highway, but regardless, if you have it, please share. Over the years on dime, EZT, the Archival Group, and through all the various and assorted other trading groups online preceding that, and the CDR, DAT, and analog cassette traders which came before, I've gathered a moderate collection of items to share. I've helped with transfers (the Cactus and related uploads from over a decade ago here, and currently a bite out of the massive Stonecutter Archives), contributed setlists and corrections to many a torrent -- all the sort of things that don't raise one's share ratio. I've shared some of my masters back in the old snail mail days, but it's high time to give back more here from where I've received so much. I had meant to do a roll-out with something grand and possibly a series (Elegymart #1, #2, etc.), but that's been done countless times before. At this point not only have we've all aged along with dime's existence, but our media and the equipment that can play it back has as well. So rather than any fanfare or concern over share ratio, consider this upload another step in a more diligent attempt to beat the time and to circulate the collection. Enjoy in your morbid curiosity -- or try to look away, elegymart
04/18/78 Agora Ballroom FLAC 24/96khz 1
04/08/79 Princes Bay THE GENE POOLE COLLECTION VOL. 33 Here's the latest installment of the Gene Poole Collection, a random wellspring of recordings which have recently surfaced. To paraphrase Lou: This is gonna go on for a while, so we should get used to each other, settle back, pull up your cushions, whatever else you have with you that makes life bearable to kick off the new decade... Some of Gene's handiwork has probably been heard by your very ears before, for the most part via the Stonecutter Archives, but this is the first major unearthing of tapes direct from the legend himself. As promising as that may seem, it's best to let the surprises hit as they are shared. The trade-off to the prolific taping on Gene's part is that the expectations for a perfect track record would be unrealistic and unfair. There will be instances of incomplete recordings, caused by late arrivals to gigs, recorder and mic malfunctions, and other assorted foibles as would befall any mortal taper. There will be times where a master from another source exists which could be superior. For the most part, Gene recorded with a variety and mics and recorders, and many shows suffered from wire dropouts, so that only one channel was extant in the capture. Due warning about the past imperfect given and out of the way, credit should be given where due as well -- for many shows thought lost forever, it's exciting to discover that many of these even in incomplete form have now cropped up. The transfers, the audio fixes, and the research all have required some lead time -- many tapes had scant info (sometimes just the name of the artist/band, with no date listed for the performance). Needless to say, gear documentation is virtually nil -- if we wait around for that precise detail to be forthcoming, nothing from the collection would probably see the light of day. For this edition, we plumbed the great depths of the Gene Poole Collection to bring you this notoriously long-lost tape. For decades, and assuredly the first time I spotted "The Soap Factory, Long Island" show on Stonecutter's trade list, I had been inquiring about this recording that Gene made. Everyone's memory was foggy on this one, maybe Stonecutter once had a copy or had seen it, but it seemed to have fallen off the face of the earth -- that is, until we re/connected with Gene again, and he turned this one up. Mind blown. So here's where credit and blame is due: in the early days of the babel-list (for all you Patti diehards who remember that), I had furnished Steve Jackson some early PSG performance dates based on the tradelists I had at the time for the pattibase, which included this unattainable show. But now the mystery was figuring out where the Soap Factory was. If Gene only saw PSG once in Long Island (see previous edition of the series), how did he end up taping this other Long Island show? About three years ago, a handbill listing this concert was auctioned off. The handbill shows "The Factory presents" with the Good Rats playing the week before this show, and limited tickets for PSG at $6 in advance, $7 at the door. The auction listing even stated that the handbill was for the Soap Factory in Long Island, but nothing else turned up in a search for this venue. The closest place was a discotheque in New Jersey. Curiously enough, the telephone numbers on the handbill all had 212 area codes, but even back in the Seventies, Long Island was utilizing 516 area codes. The 212 area code at the time was reserved for the five boroughs of New York City. That was the first hint that perhaps this show didn't actually take place out on Long Island. The "Soap Factory" was also at the time the name of a television show with dance performances and visits to discos, but none of this seemed to line up with anything resembling rock music venues. So all clues led back to the Factory. It soon became apparent that the Factory wasn't based out of Long Island but the strong Island of Staten. The Factory had originally been built in 1881, as of course, a bona fide factory manufacturing dental equipment and supplies. At some point in the late 70s, it was turned into a site for a mall, with part of the square footage carved out for a rock club. Although extremely brief in its existence, Staten Island's "largest rock showcase" housed two stages. Aside from the Good Rats and PSG playing there, they hosted other acts such as the Joe Perry Project and Ian Hunter & Mick Ronson. The club later became Snoopy's before being shuttered for good in the late 80s with the property being converted into condos. So back to Gene -- did he recall ever taking a ferry out or hitching a ride out to Staten Island to see Patti? No such recollection. And yet here was a tape where Patti makes references to Palm Sunday (yes, that fell on April 8th in 1979) right off the bat during the first number and again at some point later in the show. Well, after further cross examination, Gene revealed that he didn't tape this show after all -- it was his old friend Nick P (also see previous edition of series) who drove out there and taped it. The recording in the venue is boomy at best -- from the sounds of it, it must've been an open raw space with high ceilings, and Nick hung out in the back. Patti missed the soundcheck for this, as she admits during her fatigued stoned chatter, and that definitely doesn't aid the sound in any way. The performance here, in contrast to the 1977 shows, which are probably not a fair comparison, feels lethargic, even narcoleptic. Patti chants Ivan's name (RIP) several times before they seem to get going on their Manfred Mann cover. Aside from the mediocre quality of the sound in the master, "Rock 'n' Roll Star" and the latter half of "25th Floor" have what sound like patches from another show, and those have been left as is -- because who knows what Gene may or may not have done decades ago in re-working this. The quieter parts of the recording also have a slightly audible generated swirly noise -- somewhat reminsicent but not the same as the over-processed noise reduction that plague early attempts to remove hiss with audio software, that kind that would make us wince, circa late 90s/early 00s. At this time in 1979, the PSG shows were running in the neighborhood of two hours in length, and there's clearly more that was performed at this show, but the tape ends where it does, and so it's unlikely any more was recorded by Nick. Apologies to everyone who was misled into believing the Soap Factory, Long Island was ever an actual venue where PSG played. There was likely some miscommunication from Nick to Gene so that when Gene made his jcard for his tape he mislabeled it that way -- nope to the Soap and the wrong Island. Please consider this upload an extending of the palm branch to you all, and another in memory of Ivan. Enjoy, elegymart
07/29/79 Hollywood Palladium FLAC 16/44.1khz 1

Paul Bley --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/31/66 Teatro Kursaal
09/27/66 Jazzclub Lila Eule

Paul McCartney --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/01/90 Memorial Stadium Thanks to David for another great show from his collection. Thanks to Charlie for another great transfer. edited and mastered SIRMick January 2020

Paul McCartney & Wings --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/07/76 Olympia Stadium JEMS master recording. This is an very good/excellent sounding but incomplete recording completely missing Let 'Em In and part of Time To Hide. This is the first of two nights Wings played in Detroit. This show captures Wings touring in support of their Wings At The Speed Of Sound album and the first time in 10 years Paul McCartney had toured the USA. Paul performs this night with a bad finger he cut the day before slicing pizza. Also included are pictures taken from the show and a scan of the taper's ticket stub.
06/16/76 Sports Arena "I was unable to get tickets for this show but my friend Bruce Craven had tickets in the upper section of the arena. Bruce agreed to record the show for me with my recorder and cassette tapes. The acoustics of the Sports Areana is pretty bad. I use to equate the sound to placing a transister radio at the bottom of an empty metal garbage can."
06/23/76 The Forum Paul McCartney, The Forum, Inglewood, CA, June 23, 1976 Our Mike the Mike December kicks off with another of the master's most famous works, Paul McCartney and Wings at The Forum in Inglewood, CA, June 23, 1976, the final night of a three-show run. McCartney's first solo appearance in Los Angeles was a MAJOR event, as was the whole of the Wings Over America tour. Not only was it Macca, it was Macca performing Beatles songs and a whole lot more. Ticket demand was huge as was interest in recordings of the tour. Soon after the LA show, a triple, colored-vinyl bootleg box set of the show appeared titled Wings From The Wings. It is said this high-quality, audience-recorded bootleg was one of the factors that motivated the release of the official Wings Over America triple live album in December 1976. The Wings From the Wings bootleg, released on the Idle Mind Productions label, used Mike Millard's audience tape which explains the quality. His recording has circulated in a limited fashion ever since, though most know it from the vinyl pressing. This marks the first time Mike's original master cassettes have been properly transferred and digitized and should represent a material upgrade to prior versions. It is another astonishingly good audience recording, recorded from the third row at The Forum, and offering wide fidelity and clarity. Samples provided. The setlist blends Wings hits, some relatively obscure material, a couple of covers and five Beatles songs: "Lady Madonna," "The Long and Winding Road," "I've Just Seen a Face," "Blackbird" and "Yesterday." The band line-up was McCartney, joined by his wife Linda on keyboards, guitarist Denny Laine, Jimmy McCulloch on bass and Joe English on drums, plus a four-piece horn section: Howie Casey, Steve Howard, Thaddeus Richard and Tony Dorsey. There's also a fine soundboard recording of this same show, the Rockshow film and various, lengthy pro-shot segments from the Forum shows on YouTube. But I found listening to Mike's high-quality audience recording of McCartney '76 more enjoyable. The audience sound adds an integral organic element and makes for a vivid document of what the show was like. Here's what Jim R recalled about Paul McCartney's final night at the Forum in 1976: I attended the Wings concert with Mike at The Forum on June 23, 1976. Our equipment got smuggled via the wheelchair. As usual, Mike drove the two of us. We had primo seats on the floor, Section B, Row 3. Third row center--the favorite within our chosen sweet spot to record. We camped out in front of the box office to get these tickets. McCartney's Forum run was a big event with equally massive demand for tickets. Scalper prices were $$$. This show was the last of three at The Forum and it was also the last night of Wings' North American tour. Mike and I were blown away at the idea of seeing a Beatle. I’m old enough to remember buying their records on the day they came out. As we had done with Led Zeppelin the prior year, Mike and I drove to San Diego a few days earlier to scout the show and figure out when he would be making his tape flips. This was a history-making event. A couple times during the show, Mike and I would knowingly look at each other, then down to the dancing Nak 550 level meters, and with a sly smirk acknowledge to each other that we were in the middle of capturing an awesome tape. It should be noted that out of the hundreds of shows we went to together, this recognition only happened a handful of times. Otherwise we were all business. After the concert, when we got back to Mike’s Peugeot, we listened to the recording with headphones. A couple of people walking by asked what we were doing and Mike handed them the headphones and gave them a listen. Paul was engaging with the audience and almost seemed like a normal guy. There was an underlying theme throughout the show that this was a Wings concert and not just a Paul McCartney concert. Paul humbly shared the spotlight with other members of Wings, with some performing their own tunes. About the Wings From The Wings bootleg. Mike was pissed when he found out. One more reason to watermark the copies he gave out of his recordings. In 1976, bootleg pressings were pretty rough so they were inferior, but to Mike it was the principle. I have been looking forward to this concert being posted. I hope you enjoy the show as much as Mike and I did.

Paul Motian --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/17/83 Schauburg The original post was a superb recording and performance, but with some imperfections which I fixed in V1, then in V2 I added flac tags from Angela artwork and some more sonic improvements, only for Goody to tell me the speed needed adjustment and there was another post with a little additional material. He corrected the extra material and sent it, along with instructions to fix my own files, for me to stitch it all together. Of course I found there were further sonic improvements that made a further significant improvement. So here with V3 is what I hope is the final definitive version. TomP post on Dime, Nov. 2015...Enjoy !! ------------------------------------ V1 changes (Nero 7): Fixed track 06 tape flip / gap (originally 3.49 - 3.54), now inaudible Applied Nero noise print NR, worked well Moved beginnings of tracks from the end of the track before Fixed several short duplicated false starts of tracks Fixed applause fades between tracks 06>7 and 08>9 Fixed big digi-glitch at end of tr11 Reduced left channel by 5% to centre stereo image Now fits on a single CDR-90 (or start CD2 with track 06) V2 changes (Nero 8): FM Phase offset correction Increased volume by +2dB dc. offset correction Corrected SBEs Corrected micro gaps between tracks Retracked by a few seconds for neater transitions Added flac tags using Angela artwork V3 changes (Nero 8 unless indicated): Pitch adjustment -0.47 cents (Audition as advised by Goody) Phase offset correction, L-channel +0.33msec (source 2) Patched source 1 with source 2 (track 00 + first 10sec of track 01) Corrected 300+ balance variations Increased volume by +2dB Cross-mixed channels (99:1 ratio) Re-tracked to separate (German) announcer and more accurate track transitions Larger art in flac tags (Tag & Rename)

Pete Brown --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/16/67 Unknown ::: EXC quality studio demo. Check sample to blow yr mind. ::: Warts: None, really. Maybe missed a dullspot or two. ::: *Originally labeled 1966-67. www.bathedinlightning.com has Brown/McLaughlin session info. With tape given line-up, & date as 66-67, 1967-08-16 seems to be the only match. If it is actually 1968 (which seems doubtful), the correct date is probably 1968-01-18. ::: As far as I can tell, the only released track by The First Real Poetry Band is "The Week Looked Good On Paper". I looked long & hard. ::: Many of you will know this track & hopefully it upgrades a lot of versions. If you have never heard it & you like Pete or John, you are in for a real treat. ::: Nice description @ www.culturecourt.com of Pete Brown’s Battered Ornaments 2 years on, traveling around in an "ex-military ambulance" & on stage with "Brown brandishing toilet brushes & a false hand as he sang Politician’". ::: Many thanks to DIMERS myshadow & zubbid for their research assistance.

Peter Brötzmann --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/30/68 Meistersingerhalle "In May 1968 (no exact date is known) Peter Brötzmann had organized a recording session for his octet in Bremen. Because in those days no record label was willing to publish the radical music of Brötzmann, he decided to produce a private record again. It was published in 1968 and was available only by a private order from Brötzmann himself. Today this "Machine Gun"-LP (BRO-2, 1968) is counted as "arguably the single most important landmark in European free music" (>http://www.atavistic.com/albums.php?id=175). In 1972 this LP was reissued by the Berlin based Free Music Production (FMP-090), later on CD with the additional alternate takes and recently this year again by John Corbett and Peter Brötzmann: The Complete Machine Gun Sessions (Deluxe Reissue+Bonus Tracks) Atavistic ALP262CD (2007). The most important new bonus track on this recent reissue is the live performance of the PB Nonet (Octet+Gerd Dudek) at the "Deutsches Jazzfestival Frankfurt" (March 24, 1968), recorded and broadcasted by the HR (Hessischer Rundfunk). Up to now this bonus track is thought as "the only live version of MACHINE GUN ever recorded" (>http://www.atavistic.com/albums.php?id=175). Luckily this is not true! There is minimum one more live recording: On March 30, 1968 - one week after the Frankfurt concert - the PB Group was performing at the second "Jazz Ost-West" festival in Nuernberg; this time again as Nonet like in Frankfurt, but with Manfred Schoof as additional musician. It was recorded by the BR (Bayrischer Rundfunk) and broadcasted by several stations, among others by the WDR. This forgotten performance is not only the most rarest; with the solos of Schoof (cornet) and Breuker (bassclarinet) it is also the most colourful one of the different "Machine Gun" versions. Here it is."
11/20/15 Frankfurter Hof Mainz Peter Brötzmann's Full Blast [Lewojazz-TomP remaster] ============================ Akut 18 Festival, Frankfurter Hof Mainz Performed: 2015-11-20 Broadcast: 2016-03-04 SWR2 320/48k TS-file recorded by Lewojazz > i-Sound (44.1k.wav) Edit details (Nero 12 unless indicated): Removed most of the announcer Reduced remaining announcer level by -2dB Volume corrections of patches +1 or 2 dB Normalised volume Corrected patches of phase inversion (Audition 5.5) DC offset correction Flac tags (Tag & Rename) Flac 6 + SBE / decode check (TLH)

Peter Tosh --- Approximate Hours: 7.5
Show Date Venue Media Type Media Count Sound Quality Notes
07/04/78 My Father's Place FLAC 1 Spiritual Advisor - Jerry Moore Transferred & Seeded By Rob Berger On 2/24/2010 "uncirculated Bush Doctor from a lineage most regal" - Rob Berger
07/24/78 Anaheim Stadium FLAC 16/44.1khz 1 B
07/28/78 The Old Waldorf
11/30/78 Stadium FLAC 16/44.1khz 1
02/15/79 Dallas Palladium 16/44 FLAC via grner1: his setlist and also the early show can be found on the web but I could not find any evidence of these ever being on Dime before my first attempt earlier today. The stage announcer and Peter Tosh make comments that this set was being aired as a radio broadcast but this audience recording is not that.
02/21/79 Capri Theater This source was part of WBCN-FM's Basement Tapes series (aired on 10:00pm on Sunday, Feburary 10th, 1980).
02/21/79 Capri Theater 2010 transfer
02/24/79 Park West 16/44 flac
02/26/79 Thumbers 16/44.1khz FLAC Acquired Analog Master from The Krw_co Collection
02/26/79 Thumbers 24/96khz FLAC
03/08/79 The Bottom Line Thanks to derekj99 for the FM master and Was1/bornagain for the pre-FM source! This is a smokin' show that needed a little TLC to get the most complete version possible from the two sources. The pre-FM source is obviously more desirable here. While both tapes have similar cuts between Bush Doctor and (You Gotta Walk) Don't Look Back consistent with C90 cassettes, the pre-FM has more tape at the beginning and a few more bars of (You Gotta Walk) Don't Look Back. Unfortunately, whoever put this together crudely edited it. The station breaks near the beginning of I'm the Toughest and at the end of Get Up, Stand Up, as well as the closing jam, were omitted, along with some music and crowd noise. Fortunately, these bits were available on the FM source. I boosted the FM source +2 dB to bring it in line with the pre-FM source and edited the missing portions back in. I also removed the digital glitch in the first track, a few small gaps within the recording, and the silent parts before and after musical content. I added strategice fades to smooth out the listening experience, retracked the whole show, and fixed SBEs with Trader's Little Helper. No other alteration was made to either source. Repaired and seeded by Lippy Doo further repairs, 2018/19 by EN
03/14/79 The Bayou
03/15/79 My Father's Place Recorded after the release of Bush Doctor, this is a nice, fat SBD. It came labelled 3/14/79, but it's commonly dated 3/15. Those may be the recording and broadcast dates. There is a show listed at db.etree.org on 3/14 for the Bayou in Washington, D.C. That could be a mistake, too, because the band was in the NY area on March 7, 8 an 9, 1979. I don't know which is right. Dennis McNamara says: "First time ever live on WLIR FM." Peter Tosh's August 22, 1979 performance at the Calderone Theater would be the next broadcast.
07/04/79 Jaap Eden Hal 16/44.1khz FLAC 1
07/12/79 Palasport D- This transfer exists because "I have only seen this show circulate lossy between a few Tosh collectors so here is an uncirculated lossless copy."; Sadly, this sounds too degraded to be an upgrade.
07/14/79 Velodromo Vigorelli "This master of mine is uncirculated, and i digitalized it for the first time last week. The recording quality is just ok, i taped it with a small Sony recorder with incorporated mics, but the show is brilliant and really interesting from an historical point of view."
08/22/79 Calderone Theater Disc 2 begins with a band member announcing "part two," and the tape fades out during the band introductions in the middle of Legalize It. This could be the first part of Set II only, or almost the entire encore. My guess is, it's the whole show. Many Peter Tosh concerts around this time ran about 1 hour 20 minutes and covered this material, more or less, in with Legalize It as the encore. The accompanying scan is of the tape cover. Because the WLIR DJ intro was missing from my source, and Legalize It fades, instead of cuts, and because the tape cover says "tape flip" in Bush Doctor (mislabelled as Legalize It), but I didn't hear it, it's likely that someone took a crack at cleaning this transfer up before I got to it. Enjoy. --mhg :: Sept 1, 2005
06/01/81 Falkonerteatret Tapes come from a low gen source possible 2nd to 3rd Tape Supplied by: Tim J. Tranferred by: James C. (RRR) 11/6/2007
06/02/81 Gota Legion Hall
06/13/81 Anti-Aparthied Fest via iceblueeyes: "For once I chose to stay with an artist, in this case with WINSTON HUBERT McINTOSH, as he was baptised. This concert today is not especially rare but it is certainly very special. TOSH was on tour in Europe to promote his then current album "Wanted Dread and Alive" when he stopped in Amsterdam to perform at the "Anti Apartheid Festival". Most of you will know that TOSH was by no doubt the most militant reggae artist of his time. His miltancy was both expressed his songs and lyrics ("I don't want no peace, I want equal rights and justice") as well as in his frequent "ramblings". I personally am not the biggest TOSH fan, firstly because he hardly ever varied his set lists but also because of these ramblings which a lot of times were simply not understandable even for hard core reggae fans and which would a lot of times interrupt the "flow" of a concert...interestingly enough, this is said to be one of the reasons why he split ways with SLY & ROBBIE: in the early 80s they were at the peak of their own career, performing with BOB DYLAN, JOE COCKER or GRACE JONES...they simply did not want to be stopped at random times, night after night. Anyway, this show right here is an exception it every way: TOSH altered his set regular list significantly when replacing the rather slow "Rastafari is" with a 11 min version of the in 1981 rarely played "Equal Rights" - and his speech at the beginning of "Equal Right" is (imho) his best ever: "...this is a struggle that each and everyone have to get themselves deeply involved in...it's against the most dangerous and fascist organisation that organised themselves together..." FUCK APARTHEID! by the way, I've patched this together from two different sources, to make it as complete as possible"
06/28/81 Palais Des Sports 16/44.1khz FLAC 1
08/01/81 Saenger Hall Very nice SBD recording. Probably 1st or 2nd generation. The tape was recorded at a low level, so there is a minor amount of hiss. Also, there is a slight distortion on the vocals at times. I'm not sure what caused it, but it is definitely from the source tape. Missing all but ten seconds of "Equal Rights."
08/19/81 Unknown DVD5 via iceblueeyes: this DVD was created of Roger's master VHS tape so the quality is as good as it can be 25 years after the original recording the guys are hanging out in Peter's hotel room, chatting about the past, the present and the future NTSC format
08/20/81 Roxy Theatre
08/25/81 Circle Star Theatre via grner1: "By request from my 1st gen. reel. For this show, a friend with not much live recording experience borrowed my setup and has by now lost the master. It's a very decent sounding audience recording. The only flaws are a tape flip cut and a few other pauses of the deck where mostly no music was lost. The Circle Star Theater had a circular stage which would usually revolve during shows but that was not done for this appearance because not enough tickets were sold to fill the venue."
09/10/81 Hock Auditorium
09/12/81 Northrop Auditorium 24/96 FLAC Acquired Analog Master From The Krw_co Collection
09/12/81 Northrop Auditorium 16/44 FLAC
08/21/82 Santa Cruz Civic Auditorium 16/44.1khz FLAC 1
11/27/82 Bob Marley Performing Centre 24/44.1k
07/06/83 The Pier
07/10/83 Agora Ballroom
07/29/83 Agora Ballroom uploaded by giveitup

Pharoah Sanders --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/20/68 Jazz Festival Sound Quality: A-/B+ - exhibits strong mono characteristics at times - some reception problems and tape fading Comments: This is from my collection of off-air master transfers and I have more or less left this recording as is. I have a perfect noise sample on the disc which I balanced and gain normalized with the rest of the recoding. So PM me if you'd like to remaster or restore this recording and want the noise sample and/or unedited transfer files. Seeded by plaz_restore at DIME, December 2010.
01/15/83 Sweet Basil via ismokeweed: got this from donG who lived in nyc when this was bcast, so i assumed that he taped it himself off wbgo on a reel or cassette and mine is a cassette copy of that. but who knows? it is kind of hissy. not sure if that is fm related noise or generation hiss. i could not find much info about this bcast, but the announcer said it was nationwide, so you would think it is common. i did find everything listed below on a website. my tracking might not be the same as what is listed below.
04/20/95 Regatta Bar Levels were very low on the DATs, especially at the start of the early show, but thing improve. Note the typo in the accompanying newspaper ad. Enjoy! --mhg 2025-09-14
05/21/95 Blackstone Hotel

Phil Lesh & Friends --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/10/99 New Haven Coliseum

Pink Floyd --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/27/67 UFO Club I decided to compile and edit together the UFO songs from Neonknight's upload of the Granada Underground Scene Special. Thanks to Neonknight for the original upload and feedback! Notes: - People may notice that I have made a very different edit to the Harvested team. The edit made for HRV What Syd Wants places the piece of music at the very end of the Granada tape with Interstellar Overdrive, I decided it belongs to Matilda Mother. When I fixed the weird tape speed up at the end (presumably placed for psychedelic effect by the Granada producers!) you can Syd going back into the chorus of Matilda Mother just as it fades. - I applied some careful EQing to the mid-range because I wanted to make it sound less murky and bring out the vocals a little bit more - I applied a lowpass filter to reduce most audio content above 15k - it was basically hiss. I still upload these as 24bit/96kHZ - start as you mean to go on! - Very very very minor NR was also applied to really tone down the remaining hiss - careful attention was paid to the 'removed hiss' to ensure no musical content was harmed. There are no audio artefacts I can hear. Enjoy! Escapist, Feb 2014
07/27/68 Shrine Expo Hall This is a gentle restoration of the bootleg that was issued 10 years ago. Pictures of the reel and accompanying paperwork were shared in an eBay auction in April 2017 when it was offered for sale by its current owner. In correspondence the seller said the reel was the master but he advertised it as a 1st gen. The consensus at the time of writing is that it is more likely to be a 1st gen, increasing the likelihood that more Floyd songs were recorded. Interstellar and ASOS are from different performances. For now, at least, it is generally accepted that they are from two shows on 27 July. The two captures sound quite different to one another so it is unlikely that they are from the same performance. The Floyd's opening number was Interstellar Overdrive and they closed with A Saucerful Of Secrets on both the 26th and 27th. It would be odd for the taper to not record the songs in between. We know two of the tracks for the 27th; STC and AD. On the 26th the band played IO, Matilda Mother, STC and ASOS. My thanks to lordsnooty for these details. There is a problem with distortion on the transfer used for the silver because the levels were set too hot. I was able to improve things using iZotope's digital clipping repair tool. The bootleg is a dual mono transfer, so no work was required in respect of the channels. The recording required a minor speed correction which was dealt with by tezeta: decoded to wav, DC bias adjustment in Audition 3, then increased speed +0.27 semitones in Reaper with Elastique 3.1.4 Pro on normal. I have included the photos that accompanied the eBay auction in the folder. A handbill for the date confirms that the venue was Shrine Exposition Hall rather the Shrine Auditorium. Neonknight, April 2017
12/28/68 Jaarbeurs-Margriethal My Scotch reel does not share the same sonic profile as any of the currently circulating sources and it is free of the dropouts and instability that characterise many other copies. Here the audio is distinctly fuller in the body, with much stronger presence in the low and mid frequencies, making most other tapes sound noticeably thin in comparison. The reel also includes the pre-Astronomy Domine audience audio and the band tuning up, sections that are missing entirely from some other sources. Neonknight, May 2024 Mastering with Reaper DAW and IzotopeRX. This is a mono recording dubbed to stereo format. Both channels mixed back together after azimuth correction sounded best. Cleaned of mains noise, some tape hiss, some thumping sounds and rumble. EQ balanced for the most natural sound possible. Levels corrected for lurches in the original recording levels. The recording still has a lo-fi midrange sound and a lot of crowd noise. Very early days of PA systems here and their vocal mics are feeding back with the vocals not even half loud enough. Jimfisheye, December 2025
10/11/69 Grugahalle This version is fuller than other copies of this recording that I have heard and I believe it takes us a step closer to how the master would sound. The cassette is quite hissy and I tried Dolby on but it cloaked the sound. Hiss reduction is beyond my skills and generally not to my liking unless it is being applied by an expert such as jimfisheye. I did, however, feel confident using iZotope RX to tackle a hum that hovered just below 100Hz and could be heard between the songs. Taking advice from iZotope's learn function a value of 99.77Hz was applied. Both channels contribute so I didn't feel it would be right to drop one. I asked iZotope to suggest values for the azimuth and it is very close to correct so I left it alone. Goldenband gave me his customary expert speed correction advice. The cassette runs slow and the amount changes slightly. It speeds up after the beginning of AD and varies a bit after that too. The labour involved in a variable speed correction wouldn't be worthwhile because the variation is only about ±0.5%. I applied a +3.706% adjustment using Èlastique 3.1.4 Pro. TrollerWes cassette / Neonknight tape transfer, April 2018
04/30/70 KQED TV Studios This is a 1st gen mono off-air recording of a KSAN-FM broadcast of this well known abbreviated performance. It's possible that the off-air recording was made in 1973 - please see the reference at the end of this description. On that day people watching the broadcast on TV could tune into KSAN on the radio for better sound. However, the inclusion of Here Comes Santa brings the likelihood that this is a recording from the simulcast into serious doubt. It seems most likely that this was an independent broadcast of the audio recorded for the show. Intriguingly, it is also possible that the audio was recorded independently of the video. Here Comes Santa (a complete version unlike my December 2015 release) seems to just be a name made up by collectors. As I have mentioned previously, it resembles The Christmas Song. In Here Comes Santa the silver bells on Santa's sleigh "sound so homosexual" and on The Christmas Song they "sound so gay". We know for certain that The Christmas Song was recorded during the Zabriskie Point Sessions thanks to Wromanus and I think it is likely that Here Comes Santa was as well. Perhaps the band had a ZP tape with them when they went to the US and slotting it into the recording was an impromptu joke. The master off-air recording was made by a guy in San Francisco using a reel to reel recorder. The taper wasn't an out-and-out Floyd fan and had various master tapes and reels from a number of bands that he was happy to share. I am not sure whether this 1st gen was recorded with Dolby B but suspect it was. I left Dolby in the off position, recorded in stereo and dropped the left channel because the hiss was stronger and it was recorded at lower volume. Like most FM broadcasts, this recording has gone through automatic leveling and limiting and the quiet sections are therefore often at almost the same level as the loud sections. The recording has various broadcast noises, such as static, ticks and pops so I exported my initial transfer from Reaper to WAV and used ClickRepair - automated, declick 40, decrackle 40, simple method; a non-destructive approach to removing many artefacts. In AHM there is some static at 2m11s and the taper appears to have momentarily pressed the pause button at 6m16s. You might also notice a background hum which I decided to not address in the spirit of keeping this release relatively raw. Returning to Reaper, I applied gain of 1.27dB to side A and 2.52dB to B. Side B is noticeably quieter than A (I transferred the whole tape at the same level). Side B begins with Grantchester Meadows and also suffers from a reduced frequency response. I don't doubt the provenance of my tape but think it seems likely that side B was recorded with different equipment. Neonknight, January 2016
06/27/70 Bath Festival Of Blues And Progressive Rock A really nice copy of Mike D's well known Uher Report portable reel-to-reel recording. The performance is ragged and the recording is flawed but there are some great twists and turns to this concert and it makes for compelling listening. In 1970 Uhers were the standard recorders for the broadcast industry. They recorded up to 20kHz at 7 1⁄2 ips and Mike, who used to work as an engineer for Advision Studios, appears to have used this full quality setting. My thanks to Pelino for speed correcting the 3rd gen cassette which was sent to me by a collector from Germany who amassed most of his collection in the 1980s. You may have seen Grolsch's posts on Yeeshkul doubting the lineage of the copies doing the rounds and this version seems to my ear to confirm that his concerns were well-founded. My source knew Grolsch well. Some people might find the hiss levels fairly distracting and I considered doing something about it. A quick assessment of side A, tracks 1-3, suggests that it would probably work to drop the right channel but on side B the choice is less clear, so I decided to leave this release raw except for the speed correction. Pelino noticed that The Amazing Pudding, as it was known at the time, has a different frequency spectrum to the previous tracks and the speed was also very close to correct; 0.8% difference instead of approximately 3.5% for the others. This could suggest that the cassette is a mix of different sources or analogue transfers. Neonknight, August 2020
07/16/70 Paris Cinema Comments by MOB: Sound quality speaking, this is the best version of the BBC mono masters from 16Jul70! Absolutely unprocessed ("BBC Radio One Master Reels" seems to have been dehissed a bit and suffers from slight metallic noise in the high end, and the HRV version "Mooed Music Rev.A" has some NR artefacts), this is superior sound! However, a problem is the speed, much too fast (I compared with the live version of CWTAE on Ummagumma CD, with the studio versions of If and AHM from AHM CD, and with the versions available on BBC transcription CDs, all these comparisons lead to the same conclusion: a 102.5% stretch is needed to have correct speed). Other problem with the SHN files is the existence of micro-gaps near the tracks transitions. This RoIO would be absolutely perfect at correct speed and with micro-gaps fixed. ---------------------------- Micro gaps removed with EAC's integrated wav editor, speed corrected with CEP, tracked with CD Wave and re-encoded with sector alignement to flac level 8 with TLH on Sat. April 26, 2008 by Bert13.
10/18/70 Intercollegiate Baseball Facility, U.C.S.D.
05/15/71 Crystal Palace Bowl This is a mono recording that was processed as two channel stereo. I chose to leave the levels on the Saffire in the same position for all three sides and as a result some of the recording is relatively quiet. In my opinion the transfer has come out well and the sound is clear and has a nice top end. On the downside, the tapes also have some static and various other noises, and some of the content between songs has been edited out. My thanks to Bert13 for his speed correction advice. Stratcat58’s tapes run slightly fast, with Embryo on side C running faster than the rest. A correction of -1.3% was applied to sides A & B and -1.8% to C. We can tell from the chatter between songs that the principal taper was called Michael. Described by Melody Maker at the time as one of their most spectacular sets ever, this concert featured fireworks, coloured smoke rising from the lake opposite the stage, a 60 foot inflatable octopus that rose out of the water and a storm. Stratcat58 cassettes / Neonknight tape transfer and speed adjustments, May 2014
11/20/71 Taft Auditorium 24/96 flac The current best known source for recorder 1 is 'Howard Gil tapes, supplied by pinkrudy / Neonknight tape transfer, May 2016', released on Yeeshkul. This new source offers improved high-end clarity compared to that version and includes some additional material between Atom Heart Mother and Careful With That Axe, Eugene. Unfortunately, this source is incomplete. Transferred by Neonknight, patched and indexed by Skinny12, March 2025
02/20/72 Rainbow Theatre
11/17/72 Festhalle Comments: - There have been two sources in circulation for this show for many years but now comes a third source which is complete, unlike the others. - DSOTM was still relatively young and I have named the tracks as they were called at the time. It was played as one continuous piece during concert performances so I have decided to keep it that way here. - "Speak To Me" is a recorded tape Notes: - Pitch correction. - DC offset removed. - Azimuth adjusted. - "Speak To Me" sounded somewhat distorted so steps have been taken to reduce that. - Some background noise has been eliminated. - The tape was paused between "One Of The Days" and "Careful With That Axe, Eugene" A crossfade has been put in. Thanks to Seth Kaplan for the pitch correction. Many thanks to Gary for providing this very good source. edited and mastered SIRMick June 2025 Date fixed, indexed and info edited by Skinny12
04/26/75 Sports Arena This is a cassette transfer to DAT of a low generation copy. There are different digital transfers from possibly different copies of this tape that sound similar as though the same generation copy or possibly 1 or 2 higher. One copy has ACYL at the end of side 1 of that tape cut out 1 second sooner. This is the lowest generation copy I've heard to date. A subjective call based on the sound, dynamics, and examination of noise artifacts in the audio. There are two bands of mains hum noise in the recording. A 60Hz band with a harmonic at 180Hz and sub-harmonic at 30Hz. Then a 50Hz band with a harmonic at 150Hz and sub-harmonic at 25Hz. The speed of the recording is slightly fast as presented on the DAT with the 60Hz hum right at 60Hz and the 50Hz hum slowed to 48Hz. The original recording being made with battery power, this shows minimum of two analog generations. One from each side of the Atlantic at that. Some of the commonly traded copies of this generation or near it are often labeled master or 1st gen. There isn't enough information to know exactly how Mike handled, curated, and shared his recordings. He very well might have been responsible for at least one of the generations of analog copy noise. Making "safety copies" and "production copies" was a standard practice back in the analog days and any generation loss was just accepted. The ability and attention to preserving lowest generation came about in the digital age. It's also important to understand that the people sharing, labeling, and relabeling these recordings don't always mean to use technical terms. "Master" can mean master sounding fidelity rather than strictly the original physical master tape. Mastering: Sound balance and levels normalized for natural sound as well as the recording allows. No hyped, overly bright, or artificial intelligence based facsimile gimmicks. Audio tools include Reaper DAW and iZotopeRX spectral editor. There are two cuts in the recording from the original tapes running out at the end of the approximately 47 minute long side 1. I created short patches to tie the loose ends together and preserve the musical integrity of the pieces. The original performance is preserved fully right up to the cuts. The patches use sampled moments of nearby performance to keep the music in time and free of a distracting cut and lurch. The first half of the second verse of Have A Cigar is missing and probably a similar length section in ACYL. jimfisheye, September 2025
06/17/75 Nassau Veterans Memorial Coliseum 24/96khz FLAC A+
02/01/77 Stadthalle Original comments (RTR>DAT(2)>CDR(0) source): Entire show, without breaks between songs. A very nice, complete recording, especially for an early Animals Tour show. There is some hiss that could be cleaned up without difficulty, but I've chosen to leave it as is. Neonknight original comments (Stratcat58 tapes source): Stratcat58 received his cassettes from PEJ in Sweden. I transferred them in October 2019. To my taste they sound better than the other copies I have encountered. They have more content at the start and a better spectrum. This taper did really well to capture the whole show and achieve a nicely balanced recording. We would like to thank pelino for speed correcting and trimming an incomplete duplicated Pigs from our transfer. Revision notes: This revision features only recorder 1. The primary source that makes up the vast majority of the audio in this revision comes from the alleged "RTR>DAT(2)>CDR(0)" source. As noted by pelino, that source is likely NOT directly from the master. The Stratcat58 tapes actually contain slightly more content: more audience cheering at the start, no disc fades after Pigs (Three Different Ones), and more audience cheering at the end. I have only used the Stratcat58 tapes to patch those limited parts, and not for any of the music. There are some tape cuts on the recording, but no music is missing. Although the Stratcat58 tapes are labeled as "1st gen", the interesting lineage going through a DAT and then back to cassette might be more accurately described as 2nd gen. Unlike Neonknight, the "RTR>DAT(2)>CDR(0)" source sounds better to me, but the difference is pretty subtle. The Stratcat58 tapes place a bit more emphasis on the higher frequencies. Interestingly, the stereo channels themselves have a different sound quality: the left channel is more bassy and the right channel sounds clearer. As pointed out by Davidestrada when a different EQed version of this recording was posted on dime, this recording (and all raw versions) have phase cancellation issues. Phase cancellation leads to a "thin" sound because the lower frequencies destructively interfere with each other. Because the channels are quite different, the inversion was not a severe problem and it can be somewhat easily missed. However, there is a noticeable improvement when it is corrected. For the RTR>DAT(2)>CDR(0) source: -Inverted the left channel to correct the phase cancellation -Advanced the left channel forward (minus time) by 10 samples to align it with the right channel (maximize correlation) -only region that I did not invert was the last ~2.6 s before the tape cut between Money And Us And Them, and that section required a unique phase correction - quite odd, but that's the way it is -The audio ran slightly slow on the first disc (Tracks 1-5), so +0.7% speed adjustment -The levels were slightly imbalanced between the stereo channels, but the recorder apparently had some minor issues setting up for the first ~2 minutes, resulting in a relatively weak left channel for that portion Original Disc 1: 00:00.0-02:19.0: Left +1 dB, Right 0 dB 02:26.0-cut after Pigs (Three Different Ones): Left 0 dB, Right +0.94 dB -level change blended from 02:19.0-02:26.0 -> so no audible discontinuities generated Original Disc 2 -cut before Shine On You Crazy Diamond Parts I-V - end: Left 0 dB, Right +1.14 dB For the Stratcat58 source: -Inverted the right channel to correct the phase cancellation - reversed from the "RTR>DAT(2)>CDR(0)" source for some reason -Advanced the left channel forward (minus time) by 7 samples to align it with the right channel (maximize correlation) -Small speed adjustments (~0.1-0.3%) to synchronize the patches -Level adjustments to approximately match the "RTR>DAT(2)>CDR(0)" source - the Stratcat58 source was typically quieter Patching Notes: -crossfaded sources with overlaps < 1 s -Start of recording from the "RTR>DAT(2)>CDR(0)" source had some inconsistencies: first ~27 s before music starts -After Pigs (Three Different Ones)/Before Shine On You Crazy Diamond Parts I-V: ~70 s -End of recording: ~14 s I exported the results as retracked FLAC files and used TLH to fix SBE. -ledwhofloyd (Ross), Jan. 2022
05/06/77 Anaheim Stadium I transferred Jon Wizardo's original California Stockyard cassettes in October 2020 and his recording is a lot more complete than the vinyl version everyone has been listening to for the past 43 years. This is a raw release, with the exception of a few fireworks which were tamed using de-clip in iZotope. The pops and other noises some people thought were pressing problems are on the master and I have not attempted to tackle them. I believe that some of these sounds are caused by rain. No speed correction was necessary. The Technics RS-B565-MH is a deck modified by vince666. I recommend playing Jon's capture on headphones or sitting close to your speakers to fully appreciate the movement in this recording. The stereo/quad effects are quite pronounced in some songs, possibly more so than any other tape I've heard from this period. Side A ends with track four. Jon performed a quick flip from side A to B, with some incomplete rewinding or fastforwarding, so didn't use the full length of the first tape. He then missed the end of Welcome To The Machine at the end of side two. Side three starts with Have A Cigar and ends with Shine On You Crazy Diamond (Parts 6-9). Jon then had time to rewind to the beginning of side four for the Money encore. Neonknight, December 2020
07/06/77 Stade du Parc Olympique 24/48 flac
02/01/80 Paramount Studios UnwoundBob’85 Notes: Pink Floyd Los Angeles Memorial Sports Arena, Los Angeles, California 01 February 1980 As is similar to all known copies of these rehearsals; Flesh 1, Don’t Leave Me Now, Brick 3, and the majority of Side 4’s tracks (Flesh 2-Outside The Wall) are missing. However, the overall experience is much cleaner, even with its tape hiss. Sibilance is not obfuscated by noise, and there’s plenty of extra detail in the instruments and banter onstage. Huge credit goes to neonknight and Skinny12 for doing the bulk of the work here; I’m just happy to write some “liner notes”. :) As one of the final rehearsal dates leading up to the premiere of The Wall as a piece of rock theatre, this is a fascinating document to listen to. At this point, the infrastructure was there to do a full technical rehearsal with bricklayers, lighting and props, but this run was done without backing singers from what I can tell. This is the defining document which shows just how much hold Roger had over the concept’s execution. He takes on the role of musical director, stage director and lighting director. He is the only band member that talks throughout the entire thing, other than David Gilmour’s contributions during the break in Hey You, as well as Nick Mason shouting a count in for a couple of songs. Other non-band personnel that are named include Graeme Fleming, James Guthrie, Seth Goldman, Steve O’Rourke and Gerald Scarfe. Both James Guthrie and Graeme Fleming have a few moments of conversation with Roger and/or David, Guthrie being the man in Roger’s sights during the lengthy break in One Of My Turns. As the performance itself is not typically the reason people listen to this rehearsal, there are some fascinating things to glean from the various non-music elements, some examples listed here in no particular order; • There’s a passing mention of a moment where Nick Mason would have played crash cymbals during Bring The Boys Back Home. The way Roger describes it makes it sound like Nick would have been a man-sized Jolly Chimp peeking out of a hole in the wall, which is quite the mental image! Mercifully, this was never implemented. • Roger mysteriously does not mention any of the inflatable characters or any similar elements during this rehearsal, even though at least three songs which would have them present are played. It’s possible they were not being staged during this run through, or Roger had no issues with them. • The man-lifts used to help build the wall can be heard grinding away in the distance as Roger begins singing during The Happiest Days Of Our Lives; you can hear the board operator (Guthrie?) turn his fader up and down accordingly to try and mask out the sound. Even Roger seems put off by it for a moment. • Roger says “Sorry about that, Ladies and Gentlemen” a couple of times in this rehearsal, but I’m not sure who he’s addressing; He says it once before Young Lust, and once during the break in Hey You when the lighting is being addressed with Graeme and David. The former comes off in a similar way to his banter before Young Lust in the actual shows, complete with some fake laughter, and a series of "anyway, uhm"'s that are cut off by David riffing a bit. • It seems that Graeme Fleming was still mainly in charge as lighting designer, as Roger is addressing him directly throughout; Marc Brickman would not get involved with the project until the night before the first show, so it is unknown just what Graeme had planned out with Roger save for the cues that are discussed here. • The helicopter effects tape being played at the beginning of The Happiest Days Of Our Lives runs all the way to its natural end, as it does on a couple of shows early on in the tour; this copy of the rehearsal features the most direct capture of it. The Groupie’s voice in One Of My Turns is also very close to the listener; it seems to be the original recording without added effects or additional panning, unlike the one on the album, but unfortunately cuts early. • Lastly, Roger makes a lengthy comment in time with the tail end of Goodbye Cruel World about not being able to “fill all these holes before the interval”; They still hadn’t figured out the timing on how to complete the wall before intermission, even with the presence of The Last Few Bricks. Also attached to this torrent is a lengthy transcription of all of Roger’s comments and his rants. It took me some time to try and work out what’s being said in some of the fuzzier portions, so if anyone hears something I didn’t pick up, let me know. One can only hope that a full version of this rehearsal or another from a different date on this tour (aside from the brilliant Mal Hyams video) will surface someday. This rehearsal could be subtitled; A Day in the Life of DincFlöid, The Spektacle Direktor. “Und den the band come to a pause. Und stop building ze Wall!!!”
09/18/93 Cowdray Castle Ruins Notes: - Cleaned - Volumes adjusted - EQ'd with Parametric EQ - Noise at 9Khz reduced Transferred by Neonknight and revised by Skinny12, February 2025

Poco --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/01/70 Fillmore West

Praxis --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/13/97 Anchorage
09/20/98 Slims A 44.1kHz version of this show, listed as "aud/sdb?" and sourced from CDR, but without attribution, circulated in 2013 and also appears on Bandcamp. This file set is from Drew's master DAT, with accurate lineage (although Drew may have used his DPA 4021's at this performance). A video of this performance exists here, with some alternate song titles compared to the 2013 version, which have been adopted: https://www.youtube.com/watch?v=vCz2dplSpJA Enjoy! --mhg :: 2025-08-09

Public Image Limited --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
12/22/78 Le Stadium
05/01/80 Riviera Theatre 16/44.1khz FLAC 1
05/15/81 The Ritz The infamous Ritz "Riot". At short notice PiL are brought in to replace Bow Wow Wow – and thanks to no rehearsal, and the fact the Ritz is equipped with a large video screen – the show is planned, not be a rock n roll gig, but to be a "video performance". PiL play behind a large screen, on which pre-taped video footage is projected. However, the audience doesn't get the concept (or joke...) and smashes the venue apart after 25 minutes! As chaos rages throughout, Levene threatens the crowd, "If you destroy that screen, we will destroy you".

Queen --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/05/80 San Diego Sports Arena This is the fourth night of The Game tour and as of now, the earliest recorded one. This is a musically complete recording, with only some between-song time cut for two tape flips, and an excellent capture, despite the poor acoustics of the Sports Arena. This has been clip restored, speed corrected, and tracked by Ed. Thanks to John Purlia for taping and transferring this!

Quicksilver Messenger Service --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/09/66 Matrix CoolSonics 299 ::: Thanks to the original taper & trader! ::: Corrections welcome ::: In memory of Evelyn Miller Kerr, who was a part of the scene & carried its torch til she left the planet this past November ::: Here's one for amellowsoul, mjcrossuk & 38f, who've laid some heavy QMS on us. Hope it meets with their satisfaction. Some were weaned on mother's milk & for others it was the Quicksilver Messenger Service. Here are the West Coast culprits in their infancy, already laying down some heavy sounds. For those who listen. ENJOY!
06/07/68 Fillmore East Notes: - All tracks have been pitch corrected. - This is the original mix.
01/24/70 Fillmore East Further remastering details ::: The original download was clearly running quite slow (2.4 to 2.9%) & after some adjustments it was MUCH more enjoyable. While trying to decide if I should just listen to it in mono due to the muffled left channel, I decided I preferred stereo, but that it really needed some work. 'Twas an exceedingly long remastering time as both channels had to be done separately. Really sounds like 2 different types of mikes were used. It wasn't possible to cross-channel patch, so the repairs took a lot more time than usual. many mike bumps (mostly in the R channel) were fixed or reduced. While the R channel is the best sounding, most of the repairs were in that channel (dropouts, mike bumps, etc). Because of the very different sounding channels, the offset is fairly subjective here. I adjusted it somewhat, but it is arguable. Deleted 30 seconds of applause after the last song in the main set. For a cleaner sound with *NO* EQ, one option is to listen to the right channel only. It'll be mono, but it's by far the best quality of the 2 channels, pretty well mixed & sounds damn fine overall (except for #13/14). However, the stereo imaging is quite enjoyable & I very much prefer the Mk3 EQ'd version. Volume adjustments were made to balance the channels. The left channel was extremely muffled so for this Mk3 version EQ was applied to bring it back to life. Around 67mins (after speed correction), just before #13 starts & thru to the end of the show, the right channel is muddy & Mk3 uses EQ to alleviate it somewhat. DimeTravel 293 ::: Thanks to the original taper Jim Cooper & to Rob Berger for the transfer & original upload on Lossless Legs ::: Corrections welcome ::: Our friend amellowsoul (who uploaded this on DIME) said this is his favorite 1970 show, so I decided to go all out. He, and whomever else so wishes, can now turn this sucker up and do the West Coast boogie to their heart's content. The jam break in "Joseph's Coat" is fascinating & includes some nice early sounding Copperhead-like riffs. There's a lot to be lauded about this show, but let your ears be the judge. Listen, enjoy, show appreciation, share, give, spread peace. Yrs truly, Knees
02/19/71 Swing Auditorium Neither Harvey nor Craig know who recorded this or what deck was used. Many thanks to them for making this new transfer available to me. edited and mastered SIRMick April 2012

Ralph Towner --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/03/73 Jazzstage Notes: The speed/pitch of the source ran slow/flat, causing the pitch to be approximately 56 cents. Many noises are now gone or have been greatly reduced. One big static glitch in Track 03 at ~2:14 has been left alone however, as reducing it greatly effected musical content and/or produced a "zipper" kind of sound, worse than what is already there and equally unpleasant, imho. Tracking has also been much improved. Thanks to lauramareike, Rudolff (RIP) and all others involved for the excellent source of this quite astounding performance! Goody 7/11/11 Newly added tags and artwork (courtesy of ethiessen1) are included in this Rev 2 edition. Text updated - 3/21/22

Ramones --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/09/76 Max's Kansas City

Ras Michael & the Sons of Negus --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/28/19 Levitt Pavilion

Ratdog --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/22/95 Historic Fort Scott

Ravi Shankar --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/18/73 Salle Pleyel The original audio files, recorded by the reclusive, somewhat mysterious man known only as “The French Gentleman,” were in mono and were brickwalled. I was extremely concerned about possible severe distortion, but after removing clicks and ticks with the excellent app “ClickRepair,” and then amplifying the file by -6dB and applying much more aggressive EQ than usual, I was able to get a very nice sounding result. There is mid-range warmth and very little distortion. Unfortunately, the broadcast seemed to be live in real time and the broadcast was concluded before Alla Rakha’s tabla solo (as well as the rest of the concert) could be broadcast. Maybe somewhere in Paris, in the archives of the national broadcaster, there is the complete concert — but that would have required an engineer at the concert with a recorder as well as the desire to document this wonderful music. This was recorded in 1973 by “The French Gentleman” and audio restoration was undertaken by Richard. The files were provided by Dimeadozen member “UncleMeat.”
04/16/87 Hancher Auditorium 16/44.1khz
05/07/95 Guthrie Theatre

Return to Forever --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/14/72 Kino Corso Notes: *Two incomplete fragments from different sources joined together at ~26:47 of Sometime Ago -The joining of the segments was done earlier in the lineage, and I suspect it was done in the analog domain because the phase and speed error was the same where the parts were joined -the audio has very limited bandwidth and not a lot of crowd noise - I think the second source sounds a bit better but not substantially and it occasionally has some weird noises in the background -phase corrected the channel alignment by 5-7 samples -the necessary fixes for the pitch/speed error were odd: the first ~25 sec was 2% slow on average (with rapid fluctuations that I cannot fix), but then it suddenly became on speed after ~0:25, then at ~02:25 it suddenly become 2% fast. Then it gradually got faster, ending 3.3% fast. Ross (ledwhofloyd), August 2025
09/17/72 Konserthuset From TooleMan's Notes: Great (early edition) Return To Forever set without Flora Purim. Nice audio, with a bit of hiss and FM noise remaining after remastering. There was some hum in my source recording which was also eliminated (or reduced.) The source would appear to be first or second generation from the FM broadcast. To which, Goody would like to add: For some odd reason, which I can only guess was due to time restrictions, '500 Miles High' was edited out of this particular broadcast, necessitating a need for me to reinsert it here. Quite fortunately there was a different recording available of what must have been the complete original broadcast, provided for us by good friend 'glasnostrd19'. It sounds quite a bit different than the other tracks as it doesn't have the broader frequency response of those, but we beggars can't be choosers - suffice it to say it is quite listenable... As the intro to 'Noon Song' was also in that alternate edition and was left out of the TooleMan source, I also grabbed that short bit and reinserted it here to complete the package. The speed/pitch of the sources of these these tracks was fast/sharp. The bulk of the tracks were between approx. 28-37 cents sharp. '500 Miles High' from the alternate source was approx. 61 cents sharp. This has all been corrected for you here. Many thanks as always go to ethiessen1 as well, who has graced this new edition with a new set of cover art. May 14, 2021
10/01/73 Jabberwocky notes from previous (2015) seed befor remstering: I was inspired to seed this Connors era RTF show after seeing positive reaction to a recently seeded late 74 DiMeola era show here on DIME. I'm sure this must have been up here before, but it's not at the moment that I'm seeding it. Looking at the etree info on this, it doesn't seem to be very widely circulated. There's a version listed there that's been worked by goody and/or Mr. Mags. Not sure if this is the version I'm seeding because mine came to me in a cd-r trade. I loved RTF back in the day and saw them a few times with both Connors and DiMeola (and once with Steve Gadd prior to Lenny White joining). I've always been partial to Connors and the Hymn to the Seventh Galaxy, pre-Alembic bass Stanley, RTF. This show is a good one, although it might be a tad slow. Sound varies throughout, but is overall a pretty clean and good listen for 1973. Hope it's enjoyed by those who download it. Please support all of these artists by seeing them live and by purchasing their commercially released material. remaster notes: ths was remastered mainly because the channels were very unbalanced, and it was offspeed. the right was way too loud, the left was way too low. this is a RTF torrent, not the US house of congress. in Chick Corea's world, and his greatest band ever, left and right get an equal say, so they get it here too. that's part of what made it his greatest band ever, too. speed was adjusted +40 cents too, sounds like it's the right speed now. this may not be the full set, but most of it, at least.
10/30/73 Paul's Mall
12/30/73 Omega Studios notes (glasnostrd19): this was recorded on Philly (Pa.) area FM radio. the broadcast was probably originally on WXRT-FM (Chicago) "the unconcert" series, which is credited after this broadcast in the radio credits, or maybe on another station that got it from them. in either case, this source appears to be an FM master reel recording that's been sitting in someone's basement for over 30 years who is nursing a sick Tandberg reel deck that no longer works. thankfully the tape still plays. a fine live in studio set from the latter days of the "Hymm of the 7th Galaxy" band (with Bill Connors) and featuring the songs of that great album along with a few others. thanks to AK for recording this fine early RTF set and sharing it with me so I can share it. it sounds like the full set is included here. revision notes (ledwhofloyd): -the original version of this recording was running fast, partially phase inverted, and had a phase error -Goody and TomP did a revision in 2015 to fix these issues -I agree with Goody's speed adjustment, but not TomP's phase adjustment so I made this new revision -phase inverted: Tracks 2 to the first part of 8 (01:52.63) with the exception of a few seconds at the end of track 5 during the applause and for the radio announcer talk at the end of track 6, so I fixed this by inverting the right channel -phase adjustment: right channel was leading the left -automatic phase adjustment between 10 and 14 samples to compensate -in contrast, Goody/TomP shifted the left channel by 20 samples in the wrong direction by my assessment -speed adjustment: original audio was running 3.0% fast and this was corrected -edits done in matlab -no EQing, level adjustments, or channel cross-mixing -ledwhofloyd (Ross), Feb. 2023
03/24/74 Oranjerie The music is stellar and it is extremely unfortunate that Bill Connors did not play in RTF any longer. But this music just shows how great this musician is. Enjoy! ldb (& goody too...) This edition - July 2024
03/27/74 Kongresshalle Goody's Notes: *The earliest source of this that I can find was by finkployd49 back in December, 2010. Additional source info in that torrent was as follows: ----------------------------------------------------------------------------------------------------------------- SOURCE : VG++ stereo unknown gen audience tape (hissy on the rare quieter parts) - Sample provided. LINEAGE : -> unknown (but great - probably UHER reel) recording device -> my unknown gen Sony AHF Type I cassette -> Nakamichi Dragon (with auto-azimuth) Dolby off for playback -> Zoom H2 -> wav -> Goldwave v.5.08 for edits, tracks splitting, Maximizing at 90%, -> TLH 2.4.1 (build 160)-> FLAC level 8 align on sector boundaries, md5s ... ... Numerized, prepared and shared on Dime by finkployd49 (december 2010) ----------------------------------------------------------------------------------------------------------------- We hope you enjoy this new upgrade! finkployd49, mee & goody This edition - April 12, 2022 v.2 major upgrade to repair and/or greatly reduce flutter (!!!) - March 11, 2025
04/07/74 L'Olympia
07/10/74 The Main Point
11/17/74 Symphony Hall
12/30/74 Springfield Civic Center Originally shared by RICOLA: 2007-01-05 Ricola Review: A/A- (very hissy at quiet parts, but clear sound) Notes: The original audio from Ricola ran considerably slow and had imbalanced levels on the left and right channels. There seem to be a few brief cuts in the recording, and it cuts off abruptly before Space Circus finishes. Tracks 1-5: Right -2.83 dB with clip fix Tracks 6-9: Right -5.58 dB without clip fix (because I was unsatisfied with the clip fix results, not because there isn't clipping) -Cut out a few seconds of repeated audio over the original discs (after Al Di Meola Solo) -Attenuated (but didn't mute or cut out) some (~10) radio static crackles/pops in quiet sections Speed Adjustment: +3.8% universal The band seems to struggle with tuning, especially at the beginning, so this adjustment represents a best-fit of the parts I found most reliable. I did this work in Audacity and exported the results as retracked Flac files. I used TLH to fix SBE and create a new checksum. -ledwhofloyd, Dec. 2021
01/03/75 The Bottom Line
01/22/75 Unknown
01/24/75 Unknown Original audio shared by Ricola on Jan. 25, 2007 Ricola Notes: Another broken Reel to Reel tape which I repaired and just finished to transfer on CD. Editing Notes: -Original audio had a significant phase error with the left channel leading the right by on average 17 samples, with some variation -Automatic phase corrections to handle the variations -Levels started off reasonably balanced, but the right channel became significantly weaker as the recording progressed -Constant amplification of 3 dB to the left channel, and automatic, varying level adjustments to the right channel to balance with the left -Original audio was running considerably slow - almost a whole tone, 11.5%, but at least it was consistently off -Because it was running so slow, the more appropriate new sampling frequency is actually 48 kHz instead of 44.1 kHz in order to preserve more of the information that Ricola captured in the original transfer (not that there's actually very useful detail in those high frequencies here - it's just tape hiss > 10 kHz) -So instead of resampling (speed adjusting) by 11.5% to correspond to a 44.1 kHz sampling frequency, the resampling factor was only 1.115*44.1/48 = 1.0244 or 2.44% -All edits done in MATLAB -ledwhofloyd (Ross), Jan. 2023
03/27/75 WPLR-FM Trodnossel Studios Steve H (fzmoi69) notes for taperchuck3 (source 2): After many years of searching I believe this is the final and complete show. As the story goes if I remember this correctly this broadcast that I originally had was posted here and around the world years ago it was missing the first 2 songs. The feed from the studio to the radio station was having problems for the first 2 numbers therefore only the remainder the show was broadcast. As with the Coryell show I just posted I found someone from the radio station to raid the vault and grab me the reels from both broadcasts. I could never find the cassette of the RTF show with the beginning and just found out that my good friend Taperchuk being the music junkie that he is unknown to me also hunted the same guy down and got direct transfers of both shows to cassettes - the only difference is thank god he could still find his. So here it is after 35 years of being lost I know what I know to be the entire show. Direct from the master reels to cassette to you. This one is for Ian aka glasnostrd19. Huge thanks to Chuck for making this happen!!! Ross (ledwhofloyd) notes, Dec 2025: This project has been in the works for a while. My original plan in 2023 was just to revise the taperchuck3 source to mainly fix the phase inversion. This would have been similar to Hairy Botch's remaster of taperchuck3's source, but without his EQ, compression, and limiting. However, I realized that Lopsy Lu on taperchuck3's transfer was very poor quality due to tape degradation. As Steve H explained to me, the problem is that taperchuck3 transferred the reels>cassette years later than him and apparently the reels were starting to suffer from dropouts, loss of fidelity, etc. Hence, a source mix became the preferred approach, but the added complexity of the project led me to put it on the backburner for almost 3 years! doctorzap's transfer of Steve H's cassettes is quite jumbled with parts in the wrong order. It is very peak limited and I do not love its frequency balance. However, the quality of Lopsy Lu is significantly better on Steve H's. Ideally, Steve H's tapes could be retransferred but he explained to me in early 2023 that this was not a realistic option at the time. It was a closer call for which source to use for Vulcan Worlds and the first half of Celebration Suite, but I decided that Steve H's tapes were preferrable for them as well. Steve H's source was missing the first 5 sec of Celebration Suite and the middle ~3 minutes of Vulcan Worlds so I patched those parts with Chuck's. Source 1 (Steve H) ^ editing notes: -the first part of Vulcan Worlds up to the cut (6:43) was 2.35% slow -the second part of Vulcan Worlds started 3.0% slow, got slower through Lopsy Lu and ended 3.5% slow -Celebration Suite started 3.0% slow and started to get even slower about 3 min in, reaching 3.4% slow when it cut out (~11.5 min) -So speed corrected -automatically balanced levels -moderate EQ to obtain a more natural frequency distribution, which required boosting <100 Hz, attenuating the 200 Hz range, boosting the midrange, and attenuating > 3 kHz Source 2 (taperchuck3) * editing notes: -removed repeated ~5 sec at the start -the first part of the recording was phase inverted -for mono or narrow stereo field recordings, phase inversion is a serious issue because it causes the low frequency range from a set of stereo speakers to destructively interfere with each other, resulting in a thin sound -The channels are very different on this recording due to strong instrument separation, so the phase inversion was not as serious a problem as it would be for a mono recording -Corrected by inverting the left channel for: -Tracks 1-5 and 6 patch, except for a ~6 sec part after the cut following The Shadow Of Lo where Lenny White talks -For tracks 1-5, adjusted the alignment of the channels by 1 sample -The pitch/speed was mostly fine, except that the 2nd half of Shadow of Lo started to slow down and ended 1.0% slow, and the 2nd half of Space Circus also started to slow down and ended 0.5% slow, so I fixed them -automatically balanced levels -only EQed the Vulcan Worlds middle section patch to better match the frequency balance of source 1 Source mixing: -used short crossfades (<0.5 sec) on both sides of the Vulcan Worlds patch -no crossfades for the Celebration Suite merges because I could make it sound reasonably seamless without crossfades due to how the music was performed at the merge points
04/09/75 Bluemoon Room Show dating notes (2026): Source 3 was originally dated as April 18; however, I have found no evidence of an April 18 show in Elgin. I looked up the Chicago Tribute archives and it mentions an April 9 show. Also, there is a promotional poster for the April 9 show. It seems highly unlikely Return to Forever would play both on April 9 and 18. Sources 3-5 are almost certainly from a different broadcast just playing a different part of the same April 9 show in Elgin. Both broadcast parts have a radio announcer saying that it's WXRT. tmat44 notes (2015): This may or may not be a companion piece to another torrent posted on Dime-a-Dozen, with the same venue (but dated as April 18, 1975). Since I taped this direct from WXRT in June of 1975, I checked the dates at that time for accuracy. This is a good recording, which I'd rate a solid A-. It has some FM hiss which has not been corrected here, but it improves greatly with just a little noise reduction. It has a rawer sound than the other piece, with a sibilant sound to the cymbals, but otherwise all of the instruments are balanced in the mix; everything is driven a little high, however. There is no doubt that this venue is the Blue Moon Ballroom, since one of the band members [Lenny White] mentions it during the set. Editing notes (2026): Source 1 (tmat44) was running slow, so speed corrected -tracks 1-3 were 2.25% slow, track 4 was 2.9% slow, track 5 started 2.3% slow then 7 minutes in it started getting gradually slower and reached 3.6% slow by the end of track 6 -automatically balanced levels (the left channel was originally much louder) -Audacity: manually repaired one click and lowered a 100 ms burst on the right channel during track 5 Source 2 (glasnostrd19): glasnostrd19 circulated this as part of the "fresh" archives in 2016. -This was just used for the last 17 sec of track 6 (the final note) -Speed adjusted by +0.4% because it was slightly slow Source 3: If my reading of dime's history is correct, this was shared on dime by radhika in 2007; however, they say they got it from a different tracker. Maybe STG? It is a very good quality source - the best of all the sources here - with frequency detail up to 15 kHz, and fully intact tape hiss from 15-22 kHz (no ATRAC compression). The unfortunate thing about source 3 is that between the songs, somebody cut out the speaking portions (radio broadcast and Lenny White), lowered the levels and also crossfaded over some parts between the cuts to disguise them. The worst consequence of this is that the first couple of seconds of Celebration Suite on source 3 has a slight amount of chatter crossfaded onto it. Fortunately, the 3 songs on this broadcast are all here and the music is uncut. -I worked very diligently on the 3.5 sec before the first note in Vulcan Worlds and the 25 sec after the last note in Vulcan Worlds to undo the fading so that I could keep these parts from this source. It sounds like there is a cut about 20 sec after the last note in Vulcan Worlds, but that "cut" is also on source 4 so it might be broadcast related. -track 7 was 0.9% fast, track 8 was close enough to the right speed, track 9 was 4.1% for the first 19 seconds, then became 3.85% fast for the remainder -high-pass filtered with a cutoff of 2 Hz to eliminate gradual DC drift -automatically balanced levels -Somehow the left channel was leading the right by about 62 ms for first ~17 sec of Vulcan Worlds on the original source 3. I fixed the channel alignment here during the source mixing stage of my edits. I had to monoize a few ms to cover the part that was missing from the left channel. Source 4+5: glasnostrd19 circulated source 4+5 as a single file set in 2015. Source 4 is the majority of that file set and 5 is the last 8 minutes. They sound almost the same. I only used these sources here for the non-music parts in-between songs and like 3 sec at the start of Celebration Suite. -the part between Space Circus and Vulcan Worlds was 1.4% fast -the non-music part between Vulcan Worlds and Celebration Suite was 1.29% fast -the part from the first few sec of Celebration Suite was 1.4% fast -the part after Celebration Suite required no speed adjustment Source mixing: I used ~1 sec crossfades to join these sources together, except for the last 17 sec of track 6 from source 2, which I just spliced directly in.
05/23/75 Capitol Theatre Partial show, 24 minutes. The Eleventh House was on the bill.
06/??/75 Electric Lady Studios This new edition serves to properly adjust the fast/sharp speed/pitch of the previous edition, as well as to clean up prevalent wow & flutter for the most part. Azimuth and Phase adjustments served to improve the audio as well. My thanks to those mentioned above my name here, to the taper of this archive, and especially to Chick & Co. of course for this always fine musical entertainment! Covers borrowed from another edition and updated a bit to better serve this one. My thanks to that other artist. December 2024 - Goody Enjoy!
07/28/75 Central Park
11/22/75 Calderone Concert Hall
??/??/75 Symphony Hall
03/14/76 Chateau Neuf
03/21/76 Jahrhunderthalle jswetch notes: Audacity - I spliced a few dead spot gaps in the mr. mags files, and made sure that tracks started with music rather than applause. Along those lines, I created a separate track for Lenny White's spoken intro to Romantic Warrior and the acoustic music that followed. Finally, there was a very short separate track of applause and a brief stage announcement before Space Circus, which I spliced on to the applause at the end of track 11 (now 206). Not sure about this, but a tape cut right before that might've indicated some sort of break or short intermission before this part of the show. In an earlier comment, glasnostrd19 seemed to validate my idea that RTF did actually take a break in these shows post Jester/Tyrant and pre Romantic Warrior/acoustic solos and set. He wrote that he remembered them doing that. You can hear that transition at that point in the show. This edition - May 17, 2023
04/29/76 Dorothy Chandler Pavillion
05/12/76 Masonic Temple
04/08/77 Santa Monica Civic Auditorium I know what you’re thinking. “Millard recorded jazz?” Indeed he did, in fact several times. This was the final tour by the Musicmagic line-up led by Chick Corea and Stanley Clarke, and featured a six-piece horn section plus Corea’s wife Gayle Moran on vocals. The RTF ’77 tour spawned the group’s Live album, released later the same year and expanded to multiple LPs and CDs in the decades that followed. The Santa Monica set list matches the live album for the most part with the exception of the final encore song, which we are not savvy enough to identify. Please let us know what it is. Mike’s recording is excellent and captures the full fidelity of the band and the enthusiasm of the crowd in fine balance. Like the best of his work, the capture is rich and especially powerful with the horns. The Santa Monica Civic is a great sounding room (why on earth did they stop doing concerts there) and from Orchestra Row D, Mike was right where he wanted to be. Samples provided. Mike would go on to record DiMeola and Clarke solo shows over the years at a time when jazz-rock fusion was immensely popular. In hindsight, its puzzling the genre hasn’t continued to thrive. Here’s what Jim R recalled about the Return To Forever show: Mike and I attended the Return To Forever concert on April 8, 1977 at the Santa Monica Civic. We sat in the Orchestra Pit, Row D. As expected from being so close to the stage, the sound was fantastic. Chick Corea and Stanley Clarke were virtuosos. Watching Clarke play bass with his long fingers was incredible. He made it look effortless. Mike and I attended Return To Forever thanks to the constant prodding of Mike's high-school friend Jay, who was a drummer. Jay was steadfast in his praise of Return To Forever and the group’s individual members. When we saw that they were playing one of our favorite venues, The Civic, we had to go to see what all the fuss was about. Both Mike and I came away greatly impressed despite being only mildly familiar with the material. In fact, this concert opened up a whole new genre to both of us. Later we attended and recorded as solo acts (a partial list): Stanley Clarke at The Roxy 1977, Lenny White at the Golden Bear in Huntington Beach, Al DiMeola a few times, Jean Luc Ponty and Chick Corea on multiple occasions. We also caught Stanley again in 1979 when toured as part of the New Barbarians featuring Keith Richards and Ronnie Wood. We recorded those local shows as well. I did not take pictures. We stayed low key to fit in with the crowd.

Rico Rodriguez --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
05/13/77 Houtrusthallen FLAC 24/44.1khz 1

Rita Marley --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/27/82 Bob Marley Performing Centre Notes: -- Thanks to Frank Streeter for lending me his masters

Robert Fripp --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/25/79 Madame Wong's

Robert Hunter --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/01/84 Paradise Saloon - Thanks to Ray for sharing the hi-res goodness - tape pauses & flips was cross faded - stop & start Rum Runners - first few notes of Ripple are clipped

Robert Hunter With Comfort --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/20/88 The Kennel Club This is really a portion of a performance by Comfort, with Hunter sitting it. The tape came from Caroline Welch (a/k/a Carlisle) who passed away in July 2008 and is still missed. The tape was labeled March 20, 1988 but had no venue or other information. Doug's website had a reference to an article in Relix, reproduced below, that identifies the concert and venue. Caroline's tape contained both Merl Saunders' set and these four tracks. It is at least a C(1) because it was clearly copied from a tape containing more of Comfort's performance. It sounds like Bill Graham's voice at the end, saying stay tuned for Merl. That's about all we know. None of these two performances are known to circulate until now. Here is a report from Relix Vol. 15 No. 3 (May/June 1988): https://web.archive.org/web/20010210043357/http://www.relix.com/magazine/15-3-ItsAlive.html ROBERT HUNTER AND COMFORT MERL SAUNDERS AND FRIENDS THE KENNEL CLUB, SAN FRANCISCO by Jimbo Juanis A benefit was recently held at The Kennel Club in San Francisco for two long defunct Haight Street coffee houses, The Shady Grove and The United States Cafe. These two clubs featured the sounds of many of the Bay Area's greatest groups in the early 70's. Groups like Moby Grape, The Saunders/Garcia Band and Comfort performed regularly at The Shady Grove. So it was fitting that a couple of the old bands get together for this special occasion. An all day party was held featuring slide shows and films that brought back old memories for the invited throng. Folks like Will Dodger, Curtis and Flash held court and reminisced with old friends and others who were obviously too young to have experienced the flourishing Haight Ashbury scene in the late sixties and early seventies. By the time Comfort hit the stage, everyone was in a partying mode. Vocalist Marleen Molle was simply ravishing as she joined her old band mates Kevin Morgen stern on guitar, Larry Klein on bass, Pat Lorenzano on drums and Sunshine McGee on piano. The evening's performance was dedicated to Marleen's husband, the late Rodney Albin. Opening with "River Deep Mountain High," Comfort performed a dynamic set that featured many songs from the old repertoire. Midway into their set, they were joined by the reclusive Grateful Dead lyricist, Robert Hunter, who used to perform with Comfort in the seventies. Hunter was dressed entirely in black, complete with a hat that made him look like a gangster. He played a black solid body Yamaha electric guitar that was adorned with a Liberty sticker. Opening with "Wild Bill," it was apparent from the onset that this would be a special show. The interplay between Larry Klein and Kevin Morgenstern in particular was most impressive. Robert Hunter also performed "It Must Have Been The Roses," "Rose of Sharon," and a pull out all the stops "Promentory Rider." It was a powerful performance and I hope that Robert Hunter gets together again with his old band Comfort. Comfort's style totally compliments Robert Hunter's words and music. You could say it is a match made in heaven. The historic collaboration was followed by Merl Saunders and an all star band made up of Brent Mydland on organ, John Kahn on bass, Barry "The Fish" Melton on guitar, Armando Peraza on congas and Kevin Hayes on drums. Before Merl's performance, he was given an award by Wavy Gravy for his work in the Haight Ashbury community. Wavy also reminisced that his idea for "Nobody For President" came to him as he sipped coffee at The United States Cafe in 1972. -Merl and "Friends" performed a powerful set that included "Built For Comfort," a bluesy "Not Fade Away" sung passionately by Brent, "Level With Me," "That Pleases Me," "Women Are Smarter" and "Boogie On Reggae Woman." These veterans of the San Francisco music scene know how to rock as anyone who was at this show can surely attest. Enjoy! --mhg :: 2021-11-28

Robin Williams --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/24/78 Golden Bear

Rolling Stones --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
12/06/69 Altamont Speedway 16/44.1khz FLAC 1 Notes: JEMS is proud to be able to partner with and present some of the choice recordings in the D & D archives. Some of these recordings have been around for years, but none of the master tapes or safety copies in some cases have ever been digitized until now. Dave and Donn taped many shows in and around the Seattle area in the 70's and also were contemporaries of some of the JEMS members. This recording of the infamous Altamont concert predates most D&D masters, so while they may have recorded it, we can’t say so definitively. It does seem to be an alternate source to the commonly circulated audience recordings of the show and offers a different perspective on the event, including some uncomfortable moments of audience interaction as the trouble ensues in front of the stage. Despite a lot of audience chatter and microphone movement, this is a surprisingly clear capture of the performance, enhanced through the efforts the Captain. If nothing else, it should offer a fresh angle on a familiar and tragic show. BK for JEMS
06/03/72 Pacific Coliseum JEMS is proud to be able to partner with and present some of the choice recordings in the D & D archives. Some of these recordings have been around for years but none of the master tapes or safety copies in some cases have ever been digitized until now. Dave and Donn taped many shows in and around the Seattle area in the 70's and also were contemporaries of some of the JEMS members. Volume 3 captures the Rolling Stones on the opening night of their 1972 tour in support of their Exile On Main Street album. This recording was done on Dave's dads combo radio/tape recorder with Donn and Dave taking turns holding the mics and working the cassette deck. This an excellent recording but a little heavy on the bass. This copy is from Dave's reels, the masters may or may not still exist. It is possible Donn may still have them but they couldn't be located at this time (Sept. 2010). There were a lot firsts at this show this was the first time Rocks Off, Tumbling Dice, Happy, Torn And Frayed, Sweet Virginia, Ventilator Blues, All Down The Line and Rip This Joint were played in a live setting. This show is the only night of the tour that Torn And Frayed along with Ventilator Blues were played. Honky Tonk Women was also dropped from the set after this show to only show up at select shows as an encore. This is a great a high energy show if a little rough around the edges due to it being the opening night of the tour. The recording has been mastered for sonic enhancement.
06/11/72 The Forum (2nd Show) 1st gen reel from the JEMS archives of the 2nd show The Stones played this night at 7pm. It is an almost complete recording missing a little bit of Sweet Viriginia and cuts out during Street Fighting Man and is also missing the encore afterwards. As of this writing (July 2011) 'S' does not remember exactly who's master tape he dubbed at the time to reel but thinks this may be one of Mike Millard's recordings that he dubbed during a weekend dubbathon of both their master tapes in his living room.
07/11/75 Great Western LA Forum JEMS is happy to release two recordings of the Stones' July 11, 1975 show at The Forum, Mike Millard's incomplete capture along with this, Ed F's master tapes of the full performance. Ed recorded all five of the Stones' LA shows in 1975 and got remarkably consistent results. To be sure he wasn't recording with Millard-quality gear, but his tapes capture the atmosphere of the occasion appealingly and offer good, perhaps even very good sound for the era and equipment. His recorder was an inexpensive portable (believed to be a Panasonic) that Ed recalls ran on six AA batteries, likely giving it long battery life and perhaps even improved performance compared to most cheap decks. He paired the recorder with what he calls a cheap Radio Shack microphone that he would stick to the armrest of his seat with tape. The results have little immediate-vicinity audience noise, relatively up-close sound, and while not as sharp or clear as Millard's efforts, are potent just the same. Ed was also good about his tape flips and didn't miss much of the show. On July 11, Millard only recorded the first 50 or so minutes of the set. Ed's master tapes cover the entire performance. Better still, we believe Ed's recording of the show is uncirculated, so it should be a new, superior source for the middle night of the run. Samples provided. There has been historic confusion about the dating of the July 11 and 12 performances, but both Mike and Ed marked this performance as July 11 at the time and it is not the same as the shows released in the official Stones vault series on CD or DVD. Stones expert LetItBleed finds the July 11 performance vastly superior to the sloppy set captured on video the next night. His notes on the show and the dating controversy can be found in Vol. 117 of the Lost and Found series. Massive thanks to Ed F for lending us his master tapes. He told us he is fairly confident he hadn't played them since 1975 and they had been sitting in a tape case ever since until he gave them to us last year. Old Memorex cassettes are glued into their cases and most squeak like a mofo on playback today, but their oxide has held up and with careful restoration, good transfers are possible. LetItBleed provided enormous assistance in comparing Ed's recordings to existing official and unofficial sources, which we greatly appreciate. It has been a pleasure collaborating with him. Professor Goody was of course on hand as well to adjust the pitch. Last but not least, our esteemed colleague mjk5510 handled post-production as he does each and every week. We hope you enjoy this new recording of the Stones in Los Angeles, July 11, 1975. There's more where this came from. BK for JEMS
07/11/75 Great Western LA Forum 16/44.1 olling Stones, The Forum, Inglewood, CA, July 11, 1975 We finally arrive at the one of the most famous stands Mike The Mike recorded: the Rolling Stones 1975 performances at The Forum. Mike taped the first, third, fourth and fifth nights of the five-show stand, though as outlined below, there is long-standing confusion about which circulating recordings by all tapers come from which performance. Some of you have written asking why we hadn't done any of the 1975 Stones tapes. The simple answer is that only one of them is fully unreleased and therefore DIME friendly. Night one on July 9 contains "Sympathy For The Devil," later issued on Love You Live. The fourth and fifth nights are part of the band's official vault release series, though again, collectors have questioned the dates credited on the Eagle Rock DVD. With Mike skipping July 10, that leaves July 11 as the only unencumbered recording, and as fate would have it, that's the night Mike recorded only 45 or so minutes of the concert. Why did Mike stop taping? We've put that question to some of the friends he was there with that night and the answer seems to be that he was both unhappy with the sound and the people around him who wouldn't calm down and were attracting unwanted attention. With those two factors working against him, he decided shut things down. As you can hear in the portion of the show he did record, Millard's recording picks up a lot of Keith Richards' guitar amp directly off the stage. The unbalanced sound also leaves Mick's vocals low in the mix. While it is not Mike's best 1975 Stones capture, hearing Keith's guitar so clearly certainly makes for an interesting listen. Through mastering, we did have some luck pulling Mick's vocals a little more forward. Regardless, I found the overall quality to be excellent, which is how Mike rated the recording hmself. Samples provided. While JEMS considers ourselves relatively Stones savvy, the confusion about these dates and recordings is above our paygrade. For help, we turned to LetItBleed who wrote this in an attempt to explain the July 11/July 12 fuzziness: "The date of the performance captured on this recording has long been presumed to be July 12, 1975. We now strongly believe it is July 11 and here is why: Until the official release of the Eagle Rock “LA Friday” companion DVD (an upgrade of the only widely circulating videotaped performance from the 1975 tour),it had always been assumed in collectors’ circles that this particular concert occurred on July 11. The “video concert” has gained questionable fame because it displays some of the worst playing of the entire tour and shows the band on an obvious off night with missed cues, out of tune guitars, sloppy vocals (not the good kind) and a general carelessness by the players (not the cool kind). The Eagle Rock release credits state that the videotaped concert occurred on July 12. At the time Eagle Rock's LA Friday came out, some believed the credited date to be an error/mislabel for what should have been the "known" July 11 performance. Mike Millard's friend Ed F recorded all five LA Forum 1975 shows including the “video concert." His cassettes clearly identify that respective recording as July 12 and there is no reason to believe that he was wrong. Nor is it likely Mike Millard got it wrong, too. The previous assumption of July 11 date for the "video concert," at least to my knowledge, was verified or proven. With that in mind and two completely independent sources attributing the “video concert” to July 12, we now strongly believe that what was always believed to be the July 11 concert is actually July 12 and vice-versa. This is not the video concert, but night three, recorded on July 11. Unfortunately, during both concerts, there are no comments from the stage which can definitively corroborate the date. However, we feel confident identifying these source recordings as July 11 based on the above evidence." Or in other words: Eagle Rock was right all along. ### This release is from Millard's master cassette, transferred to DAT by Rob S in the early 2000s. Rob's contemporaneous notes also credit the recording to July 11. Mike records his first side of tape, from the show start through "You Gotta Move." On the tape flip, he misses the start of "You Can't Always Get What You Want," which have patched in from our fresh transfer of Ed F's master cassettes. "Happy" follows and Mike gets the first minute or so of the song before rustling around and eventually shutting down his recorder mid-song. We've patched the rest of "Happy" from Ed F's tape, along with what would have been the remainder of side B of the tape through "Doo Doo Doo Doo Doo (Heartbreaker)." Our thinking in presenting it this way is because we are also releasing Ed F's full master recording concurrently with Millard's, completing the first two sides of their composite recording makes it easy to pick up the rest of the show from Ed's master, side three of which begins with "Fingerprint File." One part all Millard; a second Millard and Ed composite. LetItBleed also had this to say about caliber of the show itself: "Another strong band performance, maybe a notch below the night before during the first part, but things really pick up during the "Happy"/"Tumbling Dice"/"IORR" triplet. It sounds like Mick is giving Keith a few wake-up calls during the first couple of numbers, the latter apparently takes notice and then delivers with gusto." Here's what Jim R recalled about the third night of the Rolling Stones' LA Forum residency on July 11: I went with Mike to four out of the five nights of the Rolling Stones at The Forum on July 9-13, 1975. I missed the Thursday July 10th date. I remember that Mike went but did not record for reasons lost to history. As this is the first Lost and Found series release of the Stones Forum '75 stand, there is a lot to cover. I'll try to be concise. The Stones implemented a star-shaped stage for LA and NY shows only. The points of the stars could be raised and lowered using hydraulics. This has been well documented. There were three star tips across the front, a middle, left and right. The show opened with the points folded up concealing the band members. With the opening chords of "Honky Tonk Women," Mick was on the top of the middle tip as they were lowered, revealing the stage. Given this unique stage design, unfortunately there was no seating chart with row and seat numbers ahead of time. It was our practice to carefully scout our seat locations using row and seat positions to acquire the best seats to record from and not get caught. As a side note, we camped out for tickets for several days to buy tickets, and as luck would have it, we got a pair of seats in the first row in front of the middle tip of the star i.e. Front Row Dead Center!!! Holy Crap. That would have been an extremely high-risk location recording wise. so it is just as well we sold them to a couple of Mike's friends. Ticket demand for the five shows was very high, leading to this Stones LA Forum stand commanding the first $50 scalped ticket price, a new high-water mark for the secondary market. On July 11, we sat in what turned out to be Section B, Row E, Seat 14. This translated to row 5, almost dead center. We sat on Keith’s side every night of the stand, including this one, as the tape makes abundantly clear. These should have been killer seats to record from. Too bad Mike didn't get the entire show. Keep in mind this was 46 years ago, so as far as why the recording was cut short, I cannot confirm nor deny any of the stories out there, other than we did not sit in the front row, we sat in the fifth, somewhat concealed, being in Seats 13 and 14 of a row 20 seats across. This does mean we were only six seats from security sitting in the center aisle of the floor. Regardless, I am sure Mike had a valid reason for stopping the recording on July 11. Back to the show itself, it was a party scene every night. From our seats it was like the band was playing in a living room, a really big living room. The Forum ceiling was decorated with colorful tapestries and they even removed the scoreboard to accommodate the decorations. The show was a blast. I hope you enjoy Mike's audio tidbit. Cheers to my buddy Mike. RIP. ###
06/13/82 Hippodrome d'Auteuil " From my uncirculated recording to fill an etwin request (e-glimmer-twin ?), or e gemeau, or finally Igemo... I did not shared this before because the recording is a bit distant and because i don't like this tour very much (to me they played too fast and they did much better work before).But still some good moments."

Roxy Music --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/18/72 Whisky A Go Go JEMS prides itself on surfacing previously uncirculated recordings, and we are fortunate to be trusted with the work of many tapers and collectors who were active in the pre-digital age. One such friend for over 25 years is RG, music collector, concert aficionado and also an active taper in the late ‘70s and early ‘80s where he documented a lot of punk, new wave and early alternative bands as they came through Los Angeles. We’ve shared some of his work in the distant past, including recordings of U2 and R.E.M. For years we’ve wanted to visit RG’s home and go through the boxes in the garage. A few weeks ago we finally did just that, yielding a treasure trove of tapes of bands like The Jam, The Specials, Talking Heads, Buzzcocks, Boomtown Rats and many others which we look forward to presenting later this year. As we were digging though the boxes looking for masters, other curiosities revealed themselves, including some interesting Stones-related material, a Millard-recorded Kinks show for which we didn’t have the master or any downstream copy and this. When I first looked at the tape spine I thought it couldn’t be right: Roxy Music at the Whisky 1972? I assumed the tape was mislabeled because to the best of my knowledge not only was there no known recording of Roxy Music’s first LA show, I’m not aware of any extant recordings from the band’s first U.S tour (Dec 1972-Jan 1973) period. In fact, beyond BBC recordings, tapes of Roxy with Brian Eno are incredibly scarce and mostly rugged quality. RG told me he had obtained the tape in the ‘80s from a guy in a semi-famous LA band. The handwritten set list looked right, yet I was still doubtful. I borrowed the tape and a day or two later popped it into the Nakamichi and listened. The quality was surprisingly good but was it really the Whisky? Then I heard Bryan Ferry say, “Hello Hollywood, this is ROXY Music.” That sealed the deal: it was indeed a recording of Roxy’s first show at the Whisky. As a document of this rare and excellent performance, the baseline recording is quite solid for 1972. It is mono and perhaps not hi-fi, but not low-fi either, with relatively broad fidelity and instrument separation. But it needed a lot of work. The biggest challenge to the tape is well over 100 volume drops and fluctuations likely caused by an automatic level control or limiter on whatever tape recorder was used. Most of them occur in the first six minutes of the recording. They do continue but at far less frequent intervals throughout the set, with only a handful in the last 25 minutes. Many of the drops are major, losing 8-10 decibels. I went through most of them one by one and attempted to lift and normalize the volume levels. For the most part that work keeps the music level relatively steady. However, because the drops are inconsistent and abrupt, raising the levels that high also raises the hiss substantially in bursts. As you bump through a sequence of fixes in close proximity, it can be jarring as the noise level shifts. But the fixes do make it much easier to listen to the show and keep the music going instead of dropping. Then there were the pitch issues. It was clear the pitch was off and inconsistent, so I turned to the man I consider DIME’s foremost expert in the field, Professor Goody. He broke the show into segments and applied pitch adjustments accordingly. Says Goody, “There may still be a bit of drift here and there, but its pretty tight now; plus those guys didn’t all play quite in tune with one another now, did they?” While he worked on the pitch, Goody also did some tidying up of the glitches and bumps, smoothing things out and managing the hiss even better than I had. Then mjk5510 took a pass and he really took a flatiron to the wrinkles and delivered an even more consistent result. Though we had to do a fair amount of work to mitigate problems in the original recording, when the tape is solid, as you’ll hear in the samples, it is delightfully listenable. The performance itself is utterly charming with faithful if occasionally stretched out versions of key songs from Roxy’s debut album, plus “The Bogus Man” (referred to as Pt. 2 here) from For Your Pleasure and the UK single “Virginia Plain” (also on the early US pressings of the first album). The last three songs of the set, “If There Is Something,” “Re-Make/Re-Model” and “Virginia Plain” are riveting and the crowd is clearly won over. Ferry alludes to Hollywood on more than one occasion, introducing “2HB” as, “a tribute to a star. It’s also about a movie called Casablanca,” referring to Humphrey Bogart, the HB of the song’s title. As I mentioned above, there are precious few Roxy recordings from the Eno era, so to find a good audience recording from the first US tour is quite miraculous. As for the date, one online source says the band played the Whisky on December 19, another says they played on December 18 and 19. Setlist.fm has the band in Milwaukee on December 20, which seems unlikely if they played LA on the 19th. On top of that, the tape itself was dated December 18 so we are going with that. Huge thanks to RG for letting us comb through his personal archive and pull out so many gems like this one. We look forward to presenting his recordings soon. To Goody, thanks for volunteering to work on this historic tape. Your changes made the end result so much better. Finally, as always, mjk5510 handled the critical last mile to get this one up and out and his mastering pass really gave Roxy at the Whisky a deserving final polish. We couldn’t do this without him. In this unprecedented time of upheaval from normalcy and what we have all known and lived day to day, please take care of yourselves, those around you and anyone else you can help who needs it, strangers and neighbors included. Music is a salve in these times and you can’t take rare tapes with you. So if anyone is sitting on any “rare” recordings, what are you waiting for? Having lost Jared and Stan already from Team JEMS, trust me when I say now is the time. BK for JEMS
04/01/73 The Rainbow 24/96 flac

Rush --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/19/74 Paramount Theater Notes: This features one of three known rare recordings of non-album Rush song Fancy Dancer. Interestingly, Geddy states that Fancy Dancer "will probably be on the next album", though of course that plan was ultimately scrapped. This show also features an early live version of Anthem, previously believed to be the earliest recording of the song, up until the October 24th Massey Hall tape was unearthed earlier this year. Still, this version of Anthem has the rawest energy and power in Geddy's performance that I've ever heard. Early pieces of By-Tor And The Snow Dog can be heard during the middle section of Working Man, as usual for 1974 shows with Neil. There is a brief cut near the beginning of Neil's drum solo due to the tape being flipped. This show was recorded by Stan Gutowski of JEMS. Many live Rush fans have probably heard this show before, as the master tape was transferred and shared by the JEMS group back in 2008. Here is a new 2025 transfer of the same master tape done by Rush Archives. Being a transfer of the same tape, with both transfers having been done with good equipment, the difference may seem miniscule, though we felt it now has a bit more warmth and openness to the sound, with a slightly less harsh high-end. The tape was also given a fresh pressure pad, as the old one was deteriorating and fell right off. Special thanks to Erik of JEMS for agreeing to trade out the original tape to us, as part of our recent collaborations, in exchange for a few R.E.M. soundboard tapes we'd recently uncovered. Special thanks to Moonvoices for the speed adjustment, as always. I wasn't originally planning to upload this, and had hoped for something fairly more significant to be released on this year's Rushmas (21/12), though sometimes things take longer to work out than expected. So here's something at least! Enjoy the music and be grateful we are able hear these special recordings. If you have uncirculated tapes, please consider sharing them before they end up forever lost to time.
06/25/75 Massey Hall Notes: This is one of only three known shows recorded from the Fly By Night tour, also being the only known audience recording from the tour. This audience master tape is amazing quality, easily rivaling the FBN tour soundboards, and showcases the best performance and setlist representation of the tour. This is Rush's first full headline show at Massey Hall, and their second overall show at Massey Hall after having opened here for Nazareth in 1974. Rush would then later headline Massey Hall again in January 1976 during the Caress Of Steel tour, then three nights in June 1976 during the 2112 tour. For the many tours that would follow, Rush upgraded and would play all their homecoming Toronto shows at Maple Leaf Gardens instead, though all these Massey Hall shows are considered very big steps in Rush's career. The significance of this particular show to the band is definitely reflected in the power and energy of their performance here, further making it one of the definitive pre-2112 live recordings of Rush. This show was recorded by the same group of friends who recorded Rush in 1974 on October 24 at Massey Hall, and again that year on December 12 at the University of Toronto. Just like those two shows, this show was also recorded by two different tapers among the friend group in attendance. Source 1 is the version that has circulated for decades, however as of May 2025 we now have a major notable upgrade direct from the master tape. Source 2 is completely uncirculated and is also transferred from the master tape. Both taper sources capture the complete setlist, though both have different cuts during Working Man due to the tape being flipped. Both sources also have short differences in cuts during the breaks between encores, while Source 2 also has a slightly longer capture of the band's intro tape. While both sources are great recordings, Source 1 has the edge in quality. A source merge version was created using all of the Taper 1 source, while using the Taper 2 source to fill in three minor segments of audio that were missing: approx 48 seconds of the band's intro tape, approx 16 seconds during the jam section of Working Man (due to tape flip), and approx 5 seconds extra during the encore break prior to In The Mood. Immense thanks to those who helped us obtain these masters. I could not have achieved this alone. Enjoy the music and be grateful we are able hear these special recordings. If you have uncirculated tapes, please consider sharing them before they end up forever lost to time.
01/26/80 Mid-Hudson Civic Center 24-bit/96k flac This is the third production of the Poughkeepsie 1980 soundboard to circulate. This production is sourced from the same analog cassette tape as the two previous versions; however, this version has notable improvements due to special care taken during each stage of the mastering process. The cassette was meticulously set to its correct speed directly from the playback deck (as close as possible considering analog cassette decks)! After converting the analog tape to a digital file, the left and right channels were painstakingly adjusted throughout the duration of the recording to maintain a consistent output level. The two channels were time-aligned by summing to mono to correct phase problems between them. Numerous glitches during Neil's drum solo were repaired with surgical precision. Audible ticks during La Villa Strangiato were removed manually, rather than using an automated declicker that could adversely damage the program material. Last but not least, the loss of fidelity in the right channel during Jacob's Ladder (most likely caused by a clogged head while dubbing the source tape) has been minimized. No EQ was used, because the possible benefit of EQ was not enough to warrant the probable side effects of EQ processing. Waves' L3 Multimaximizer was used sparingly to normalize the final program to a maximum level of -0.2 dB. The result is the most transparent and true-to-source production available of this recording. Despite speculations that the source tape is a first-generation dub from the master, there are at least two layers of hiss on the tape following the program. If the source tape was indeed a first-generation dub, there would only be one layer of hiss. Thus, the source tape must be a second-generation copy at best. (The easiest way to determine this is to count the clicks that are caused at the end of an analog tape when recording stops. If there is more than one click, the tape is almost certainly a copy of a copy). Consequently, this production contains some degree of tape hiss - as do most of the greatest recordings ever made. Listeners who cannot tolerate hiss are advised to reduce the treble control on your amplifier, as this method is almost always preferable to destructive noise reduction processing. Noise reduction, especially inexpensive consumer types, should essentially NEVER be used. Special thanks to DK Broiler for selflessly sharing his soundboard recording. Gifted by Analog Kid Audio Video on January 26, 2019 for the 39th anniversary.

Ry Cooder --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/??/70 Fillmore West

Santana --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/06/70 Berkeley Community Theatre Notes: -mr_mags shared this from a different transfer of agalli's cassette in 2008 -maybe the "West Coast collector" had a better source for this, which might be shared in the future? -transferred fast so speed corrected -tracks 1 to the start of 4 were 1.8% fast, then the audio got gradually slower, reaching 1.05% fast by the cut in track 6, then after the cut it was 2.3% fast -automatically phase corrected the channel alignment (they were offset by as much as 17 samples) -automatically balanced levels Ross (ledwhofloyd), Nov. 2025
04/03/71 Fillmore East
04/18/71 Ahoy Notes: -quality is about average for a 1971 audience recording...in other words, not that good -track 13 from 4:27 to 5:21 is marred by many 10-20 msec digital gaps. Other than that, I think this is digitally clean. -automatically balanced levels -automatically phase corrected the channel alignment -speed corrected because: -track 1 started 9.4% slow and got gradually slower, with track 8 ending 10.7% slow -tracks 9 to the cut in 11 were 11.5% slow -track 11 after the cut through track 12 were 8.3% slow -track 12 after the cut was 8.3% slow, then it transitioned to 8.8% slow through track 13, and tracks 14-17 were 8.8% slow Ross (ledwhofloyd), Mar. 2026
04/18/71 Ahoy Notes: -quality is about average for a 1971 audience recording...in other words, not that good -track 13 from 4:27 to 5:21 is marred by many 10-20 msec digital gaps. Other than that, I think this is digitally clean. -automatically balanced levels -automatically phase corrected the channel alignment -speed corrected because: -track 1 started 9.4% slow and got gradually slower, with track 8 ending 10.7% slow -tracks 9 to the cut in 11 were 11.5% slow -track 11 after the cut through track 12 were 8.3% slow -track 12 after the cut was 8.3% slow, then it transitioned to 8.8% slow through track 13, and tracks 14-17 were 8.8% slow Ross (ledwhofloyd), Mar. 2026
10/11/71 Boston Garden 24/96 flac JOE'S MEMORIES: I had been looking forward to seeing Santana since seeing them in the Woodstock movie. Santana III had recently been released, but Carlos had left the band, so we weren't quite sure what to expect. Fortunately, we weren't disappointed. The rest of the band was still intact and Neil Schon did a great job on lead guitar.They did a nice set that included just about every Santana song that you could ask for. The only letdown was not getting to hear the one we really expected, "Soul Sacrifice". Other than that, it was a satisfying show and the recording came out well and captured a moment in Santana history that we can still enjoy after all these years.
11/30/73 Stadthalle Notes: -Automatically removed silent gaps at the start and end of every track (MATLAB) -The levels for tracks 1-3(first half) were very hot. Then they abruptly got a little lower. I evened this out and clip fixed (Audacity). The loud parts, especially during track 3, sound pretty distorted. -I removed a few seconds of repeated audio between tracks 14/15 to seamlessly join them. I also lowered their levels and clip fixed (Audacity). -Automatically phase corrected the channel alignment (MATLAB) -Automatically balanced levels (MATLAB) -Speed corrected (MATLAB) because: -track 1 started 3.8% fast, then midway through track 3 it started getting faster and by the end of track 8 it was 5.3% fast -tracks 9-13 were 5.2% fast -tracks 14-15 were 5.3% fast -there is a high-frequency tracking signal at ~15.5 kHz, although I suspect it came from a later tape gen, not the master, because it doesn't align with the correct pitch/speed Ross (ledwhofloyd), Mar. 2026
08/06/74 Surf Ballroom Notes: -incomplete recording -automatically phase corrected the channel alignment -automatically balanced levels -transferred 0.9% slow so speed corrected Ross (ledwhofloyd), Nov. 2025
05/29/75 Massey Hall Notes: -copied the right channel to the left from ~1:45 of track 10 to ~7:15 of track 11 because the left channel was very weak with poor signal/noise for that stretch (Audacity) -copied the left channel to the right from ~8:46.5 to 8:57 of track 9 because the because the right channel had a strange buzz (Audacity) -some manual level adjustments (Audacity) -automatically balanced channels (MATLAB), excepted for the monoized parts -lowered levels with some minor clip fixing (MATLAB) -speed corrected (MATLAB) because: -tracks 1-5(pre-cut at 1:41) were 2.2% fast -tracks 5(post-cut)-9 were 2.5% fast -tracks 10-11 were 2.6% fast Ross (ledwhofloyd), Mar. 2026
09/20/75 Jahrhunderthalle Notes: -Speed corrected because: -tracks 1-4 were 2.6% slow, and tracks 5-8 were 2.3% slow Ross (ledwhofloyd), Mar. 2026
12/31/76 Cow Palace Notes: -- Reel transfer done in 2000 -- There are level issues mostlly in the first track -- Track marks may be off a little (I did my best)
09/01/77 Arena di Verona Volume 130 of the MRDR Master Series can be considered part of the "no tape left behind" policy we have here at mjk5510 productions. MR sent his master capture to me with a simple statement "this is terrible", after spending some time "mastering" it...it's still terrible. The bass is overdriven and at times distorted, one channel was super low (corrected) and overall has a very narrow frequency range with some instability. We have come to enjoy some exceptional quality recordings from MRDR but this is not one of those recordings however, this show only circulates as a 39 minute TV broadcast. So 45 years after the performance and in the spirit of no tape left behind, for Santana collectors/historians only, we offer the complete 1977 Verona, Italy performance. It seems to be a long show for 1977 era Santana and one interesting note "Dance Sister Dance" is played twice. Thanks to MR for "getting it", "it" being even terrible quality shows have a place in the historical archives of legendary artists Thanks to Goody as well for powering through this one so at a minimum we are in the correct pitch. mjk-no tape left behind-5510 & MRDR
03/13/78 Seattle Center Arena In the last couple of years, we've revisited some of Stan's greatest Seattle recordings by making new transfers from the master reels, shows like Led Zeppelin '73, George Harrison '74 and Pink Floyd '75. In the process, I did an audit of all Tandberg master reels released by JEMS on DIME and compared that to the tapes sitting on the shelf just above me as I type this, an exercise I had inexplicably never undertaken. You can probably guess where this is going (I seem to revisit this narrative thread often): turns out there are at least two dozen Tandberg masters that don't appear to have been torrented or posted. Several of these may not have circulated in any form, even in the analog trading era. I suspect some haven't been played since the day after the show--if at all. Stan would have been the first to admit he devoted 95% of his energy to capturing these shows and only 5% to listening to them. His legacy of over 100 Tandberg recordings made between 1972-1979 is a truly remarkable archive that, delightfully, has not been fully tapped. Which brings us to this installment in JEMS Tandberg Masters series, Santana on tour in the spring of 1978 supporting Moonflower. The band's double album mixing studio and live tracks was released in October 1977. The setlist draws heavily from the studio tracks on Moonflower, surrounded by classic and deeper cuts from the catalog. In the pantheon of Tandberg masters Stan's Santana capture is certainly up the with the best of them, sounding close, full and consistent. Samples provided. It's a high-energy show, too.
03/17/90 Civic Auditorium agalli notes: The Bay Area used to host the "Bammies" or Bay Area Music Awards. This was an event that was initiated by BAM Magazine years ago....Bay Area Musicians magazine. 1990 was the 13th Annual Bammies celebration. This is incomplete and just the Santana portion...there were a few other jam tunes that were played that included Robert Cray, John Fogarty and Neil Young. additional notes: There are several other versions of this. -there are cuts after tracks 2 and 3 -phase corrected the channel alignment -transferred at approximately the right speed, so no adjustment necessary Feb. 2026
03/18/92 Community Center Theatre Notes [grner1 - 2021-02-13]: Special thanks to David Hardy for the source tapes and the live mix! Thanks also to Santanamigos and HermanLR for help with the setlist and with identifying the recording (which was undated on the cassette labels). Please support the artists and live venues any way that you are able to. Enjoy and SHARE!
06/11/92 The Roxy Note: There are some problems with Larry Graham's microphone for about 30 seconds of track 203 ("Right On"). Larry Graham's bass is a bit overloaded for about 30 seconds of track 204 ("Make Somebody Happy"). Covers by ethiessen1 (Thanks!) Many thanks to all involved in providing the sources involved in this presentation. Please note the following (from Wikipedia): "Jin-go-lo-ba" (or "Jingo") is a song by Nigerian percussionist Babatunde Olatunji, featured on his first album “Drums of Passion” (1959). In Yoruba (Olatunji's native language) it means, "Do not worry." This edition - June 9, 2021
09/17/92 Georgia Dome Wave That Flag...A short attention span show. Any set list corrections/additions are always appreciated. Another Thank You to Herman and the folks at Santanamigos for lots of extremely useful information. Once again, PLEASE support the/all musicians and ENJOY... Stucco TINA Holmes 2012-02-16
10/17/92 Sunken Garden Theater FLAC 16/44.1khz 0 Notes [grner1 2020-04-18]: Thanks to David Hardy for the source tapes and the mix. You might notice that the liner that was with the cassette was not from the same cassette. After I transferred the cassette, I found that I also had a Dat and ended up using that because it sounded a bit better.

Sex Pistols --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/09/78 Kingfish Club

Shakti --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/24/76 Tower Theater
03/09/77 Shaboo Inn comments this source is the master cassette. track 1 starts with 41 seconds of tunning, not on original CD. track 3 stops at end of tape near end of song, no applause. If there is a second source, a comparison would be good if there is a little more to the song. track 4 (side B) starts with talking also not originally in torrent. previous torrent was from CDR from master tape. In order to fit on a 80 minute, the talking to be left off. When comparing CD track 1 with the exact points with MAC track 1, this version is slower and more correct in speed. (16 seconds slower for a 15 minute song). enjoy!
04/30/77 Théâtre des Champs Elysées
10/16/77 UCSD

Silver Seaters Quartet --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/25/80 Le Vogue 16/44.1khz Notes: This is a bright and up front audience recording of a lovely jazz set. Le Vogue was a small jazz club in the Isezaki-cho neighborhood of Yokohama. Apologies that the personnel lineup is incomplete, but memories are a bit distant. Cassette flip after the piano medley, no music lost. Enjoy! --mhg :: 2025-03-09

Skatalites --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/13/89 Circle Star Theatre
01/25/90 Splash --- The opening notes to Freedom Sounds are cut --- Thanks to John "dubwise garage" Dubois for the source and transfer --- Thanks to Brian Keyo for helping out with some of the song titles and the singers & players of instruments
02/07/90 Kuumbwa Jazz Center
10/12/96 Knitting Factory 24-bit/48khz
10/12/96 Knitting Factory 16-bit/44.1khz
08/04/99 Higher Ground
04/18/02 Harlow's
07/28/08 Central Park Summerstage there are 2 small "skips" in track 1 at 1 min 21 sec that were caused by a glitch in the recorder.

The Slits --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
08/08/78 The Music Machine FLAC 24/96khz 1
07/23/81 The Vex

Sly & Robbie --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/19/86 Tower Theater
10/13/86 The Catalyst From 4 channel cassette master - soundboard + microphones matrix mix - excellent sound quality
10/22/88 Broadway Pier
05/27/15 Casselmen's This was a 4 band reggae show with supporting DJ. First 3 bands were Denver local bands and were not recorded. S&R played one long set. First 20 minutes were SR DUB then Reggae Angel came out with female singer supporting him for 4 songs. BM came out and finished the show.
02/13/19 The New Parish

Sly & Robbie meet Nils Petter Molvaer --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/17/16 Tollhaus

Soft Machine --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/25/69 Bataclan

Sons of Champlin --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/24/69 Winterland Arena
12/31/72 Winterland Sons of Champlin opened for NRPS and the Grateful Dead at Winterland, New Year's Eve 1972. Much of the evening was broadcast on KSAN and recordings circulate widely. Sons of Champlin recordings usually start with a 30-second intro beginning with "This is the most people that's ever been here for a first set...." followed by Right On. A common lineage is "FM (KSAN) > MR > Cassette TDK-SA90 w/Dolby B" but there is at least one other version, very loud and much harsher, with the same setlist and also derived from the FM broadcast. To add confusion, another recording labeled 12/31/72 of a different performance also circulates (first songs are No Mo, I Feel Good). Turns out that not all of the Sons of Champlin was broadcast. Wolfgang's Vault mentions that the recording picks up part way into the set. It's true. Fortunately, it was recorded. This file set comes from a pre-FM KSAN reel. You can hear, in the crowd noise during last 30 seconds of Heaven Only Knows, the KSAN announcer being mixed in. It's clearly the same mix as the circulating post-FM recordings. Sadly, the reel ended in the middle of Lightnin'. Happily, the post-FM makes the perfect patch material. But you can hear the dynamics drop when the FM source kicks in. A couple of small dropouts have been patched with audio from the opposite channel, and the tuning after Poppa Can Play The Blues has been pared down from 7 minutes to a lean 4:01. Otherwise, this is how the boys laid it down. Enjoy! --mhg :: 2020-08-18

Soul Syndicate --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/15/79 The Catalyst From audience cassette master - decent sound quality though there is an intermittent channel during the first set that is pasted in from the good channel when necessary. It is hardy noticeable, even on headphones and does not detract from my enjoyment of this rootsy show. Please check the sample to get an idea of the sound quality. KUSP has possibly broadcast excerpts of a board/FM source for this (as indicated by web playlists with songs labeled Soul Syndicate 1979 Santa Cruz). I do not have that source so if anyone has a better copy please post it. Thanks for any help with my feeble attempt at a setlist.
10/28/84 Starry Night files are misdated as "1984-11-xx"; 1984-10-28 is the correct date for this show.
11/02/84 The Catalyst 16/44.1 flac
11/02/84 The Catalyst 24/96 flac

Sounds of San Francisco --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/19/86 Lone Star Cafe notes from the knob master Alan Bershaw: These mixes are in stereo, but just slightly. I did minor panning of each channel, with the guitars & bass/drums channel’s slightly split. Ditto for the vocal channel (which contains a lot of ambience) and the ambient mic channel. I thought it sounded a little better than straight mono. Restored some missing low end to the bass/drums channel, raised a few buried vocals and miscellaneous other tweaks. The Dry Mix only utilizes the ambient mic between songs. The Wet Mix utilizes the ambient mic throughout (like a matrix mix), but that mic channel doesn't start working until a few minutes into Hideaway, so even the wet mix is dry during the 1st 5 minutes of the early show. I do the dry mixes mainly to enjoy the crispy guitar definition, but the wet mix is the better overall listening experience. Other tidbits of interest is that these shows are the East Coast debut of SOSF. They also goof on Michael Gaimen a bit during the early show. Apparently his dad was there, too. Cipollina is the primary point of interest on these shows. He smokes throughout! Barry Finnerty (another great guitar player from San Francisco who was living in NYC doing sessions at the time) guests on "Stormy Monday." He's the one kicking ass through most of that tune, until John's super-gnarly solo near the end. The "Cobra-> Mona" that ends the late show is freakin' great! Alan "wet mix" (matrix) to be uploaded in the near future - Rob Berger

Steel Pulse --- Approximate Hours: 3.75
Show Date Venue Media Type Media Count Sound Quality Notes
07/04/79 Jaap Edenhal 24/44.1khz
02/28/80 The Ritz Notes from Tim: The exact date remains an active debate. At one point, I made a note that this show was also dated, "3/01/80" but, at the start of the show, David Hinds clearly says, "The month of February a-comin’ to a close..." So the month of the show was certainly February, and the 2/28 date makes perfect sense. Regarding the date, the tradition has become 2/28/1980, and I am inclined to accept this tradition. The sonic quality of this recording is a significant upgrade to what circulates. There is another recording for this date on LL (identifier: Steel Pulse The Ritz Theatre, New York, USA. 1980-02-28 FM) that is also significantly different. It is a rebroadcast with announcer Habte Selassie (who dates the show as 2/28/1980, qualifying it with "I think"). The Habte Selassie version has been reconstructed from two different tapes, the last five songs of which, after Heart of Stone, sound different and are almost certainly not from the original broadcast. Here, Unseen Guest through Heart of Stone sound similar. It's not clear if they were broadcast in performance order, as the recording has brief periods of near silence between some songs, and from a stage announcement, True Democracy was played before Riot (but was not broadcast). But, in any event, this recording appears to be more accurate that other copies. On this recording, Harassment has an tape flip @ 3:22 which has been shortened, but is still audible. Enjoy! --mhg :: 2026-03-16
08/02/80 Vondelpark draftervoi's notes: This tape was digitized by Hans de Vente. I normalized and chaptered it. The fade out is on the original tape. This show is also posted on You Tube, with the full version of "Jah Pickney" and one additional song, "Caught You Dancing." Many thanks to Hans for the original recording and to draftervoi for his efforts and providing this show through his FBSVIP blog. Support the artists! Buy their official releases, go to their concerts! Trade freely! Do not buy or sell! Keep it lossless! Uploaded to DIME by propylaen in September 2014.
07/10/82 The Catalyst FLAC 16/44.1khz 1 grner1: This Show Has Circulated A Lot, But What I've Heard Has Been Incomplete And or Out Of Order. I Finally Got Around To Transferring My Reel And I Think It's The Complete Show And Better Sounding Than Other Versions That I've Heard. There Is A Small Amount Of Fm Reception Static In A Couple Of Spots, But They're Barely Noticeable And The Sound Quality Is Otherwise Quite Excellent. Check The Samples To Get An Idea For Yourself.
07/10/82 The Catalyst BBC College Concert #6 London Wavelength Broadcast Week of Oct. 17, 1982 This version digitized Sept. 2015 from the syndicated radio disc. 300 dpi scans of the cue sheet and a disc label included. Updated Feb. 2025 with both disc labels and confirmation of the concert date from the Santa Cruz Sentinel.
05/20/84 Civic Auditorium From cassette master - fairly excellent sound quality audience recording.
06/09/84 Rainbow
08/31/85 Woodbury Ski and Racquet --- Outdoor Superjam '85 --- originally scheduled for Sunday, August 25th, 1985 --- an repeated section in Ravers lasting 2:44 has been removed --- Thanks to the taper for this recording --- Thanks to David Bernis for Beta Hifi source --- Thanks to Doug Rice (aka BFOQ) for the transfer --- Thanks to Steel Pulse for existing
10/19/85 The Fox Theater
10/27/85 Alumnae Hall, Brown University 1
09/21/86 Warfield Theater **First 11 minutes only had 1 working channel, so mono** Recording and mastering by checht Tip o' the cap to Alex A bigbluetarp release in association with Party Boat productions
08/30/87 Universal Amphitheatre vanillag NOTES (1/12/2023): --BIG UP & much thanks to whomever originally recorded this 1987 Steel Pulse show. Also much Jah Love to Jeremiah's friend for rescuing these tapes from the thrift store, Jeremiah for sending them to dubwise &, of course, dubwise for transferring & sharing them with us all. Absolutely Appreciated & sounds surprisingly tasty for a 1987 AUD recording...rowdy, fiyahed up crowd at times, but still!! --Not sure if there was an encore on this night, but it is certainly not here (maybe on a different tape??) --I added the band members info --not 100% sure that Melvin Brown was there with them on lead guitar at this show...he is listed on their wikipedia page as being their lead guitarist from 1982-1989, David Hinds does not intro him in t19 --researched heavily & created a setlist --the name of the tour is announced in t01, but I can't quite make out the whole thing: "Steel Pulse Marcus Garvey '(can't make out this word)' Tour". If anyone knows the name of this tour, please let us all know. --t19 ("Jam") is possibly one of their songs, but I cannot identify this one...they just do some lyrics here & there in between introducing the band members, but the only bit I could make out was a "white horse" rap section...they do more snippets of tunes, though. If anyone knows the names of any more of these snippets, please let us all know --added more detail to the venue info --This venue no longer exists...it opened on 1972-06-28 & was originally known as "Universal Amphitheatre" (from 1972-2005) & then "Gibson Amphitheatre" (from 2005-2013). The amphitheater closed on September 6, 2013 and was demolished for "The Wizarding World of Harry Potter" attraction at Universal Studios Hollywood. --https://en.wikipedia.org/wiki/Universal_Amphitheatre
09/13/88 Chestnut Cabaret RIGHT CHANNEL FAILURE.TRACK SPLIT TO MONO IN AUDACITY.
08/02/98 Reggae On The River, Frenchs Camp Notes 1) "Reggae On The River Radio 94.1" broadcasts were live onsite low-power FM broadcasts that I recorded in my truck at the venue campground. 2) The FM signal was terminated twice for a few minutes during the broadcast. Originally Shared At www.shnflac.net On January 30, 2025
07/28/03 The Catalyst FLAC 16/44.1khz 1
02/27/07 Showbox Compiled February 2022 by CPS
07/16/08 Rockefeller Park
05/24/14 The Catalyst daspyknows: "I wanted to go to the California Roots and Reggae festival but could not find any takers. I wanted to see Steel Pulse, Ziggy Marley and some others. Too much to camp and tape 3 days solo so I decided to drive to Santa Cruz to see Steel Pulse solo. I reached out to a few fews and connected up with friends I hadn't seen for 20 years and accepted the offer from fellow taper Wilson66 to stay over after the show. First time at the Catalyst and I like how they keep the drunks in a pen since its 16 and over. Floor area was crowded but not too bad. At one point you can hear a girl complaining because I wouldn't move forward. She has her bck and ass facing the stage and is pushing me. Sorry, I'm in the sweet spot "
07/02/22 Lincoln Hill Farms 24/48 flac
02/17/23 Marina Green Park

Stephen Marley --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/28/11 The Historic Rialto Theatre
05/13/14 The Catalyst
02/19/23 Vibes Stage

Stevie Ray Vaughan --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/26/83 Bayou Club 24/48 FLAC
12/27/83 Wax Museum
03/17/84 The Twilight Zone
06/01/85 Auditorium Shores 24/48 FLAC
06/12/87 Pine Knob Music Theater Comments: The first of two evenings at the "Knob". We were about a 3rd of the way back and close to center in the theater for this show, as I recall. The sound was maybe a bit better than average for this venue that is not known for great acoustics. The crowd was very excited for this show, yet well behaved around us. This is from the master cassette tapes. There is a 1st generation (off the master) circulating. Please: Convert to lossy format only for personal use. Please: Do Not Buy or Sell This Recording. Please: Trade Freely, Keeping The Recorder And Lineage Information Intact Please: Relax and Enjoy!
05/02/90 Civic Center This is the first release of this show directly from my master tapes, the tapes disappeared over 30 years ago. I assumed I had mistakenly sent someone the master tapes in a trade but I had lent them to may old taping/trading partner KS. I eventually moved away and forgot all about them. Fast forward to last year and KS contacted me to see if I wanted his archives, on top was the master tapes I lent him 30 years ago. The has been in circulation from tape trades, quality is very good though a touch on the boomy side due to the Civic Center's crappy acoustics. Artwork and samples included... mjk5510
06/15/90 Lakewood Amphitheater
07/21/90 The Gorge Ampitheatre

Stevie Ray Vaughan & Double Trouble --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/20/81 Fitzgerald's Excellent+ sound recording. Recording was done with mics on stage with permission from the band. The Tex Thomas tracks are also from this night and feature Stevie on guitar.
07/26/83 The Bayou fileset is dated as 1983-07-27
03/17/84 The Twilight Zone
08/30/87 Iowa State Fair Dat(0) transfer done by the taper of his master cassettes for Charley C. back in 1997. This is an excellent+ sounding recording done near the speaker stacks near the stage probably 20 feet or less away from them according to the taper.

Suicide --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/03/78 Horseshoe Tavern Suicide, Horseshoe Tavern, Toronto, ON, June 3, 1978 What is sure to be one of the rarest recordings to emerge from the SF tapes is this 20 minute capture of legendary post-punk electronic duo Suicide. Vocalist Alan Vega had a huge influence on Bruce Springsteen in the Nebraska era and the film Deliver Me From Nowhere depicts Springsteen listening to Suicide's song "Frankie Teardrop." There are but a handful of known recordings of Suicide from their seminal years and even those that have been officially released are to my ears arguably inferior quality to SF's brief capture. Samples provided. The four songs taped here include "Rocket U.S.A." and "Ghost Rider" from their debut album, plus a cover of "96 Tears" which was often part of the set, and what seems to be an early version of "Harlem" with a lot of different lyrics. The track would come out on Suicide's second album in 1980. The Horseshoe Tavern has been a music venue in Toronto going back to the 1940s, and surely this had to be one of the stranger sets ever performed there. I'm not sure how popular this recording will prove to be, but we're thrilled to add another document to the slim history of this pioneering duo Once again we say R.I.P. and express our gratitude to SF for taping these concerts in the first place and special thanks to ML for making this collection available to JEMS for preservation and distribution. Slipkid68 has been on point coordinating the series. He also handled some of the tape transfers and wrote the introduction to the series above. We'd also like to thank Professor Goody for helping as always with pitch adjustment and to mjk5510 for post production. BK for JEMS

Summer Of Love All Stars --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/09/87 The Stone

Sun Ra --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
04/09/89 The Catalyst FLAC 16/44.1khz 1

Sunny Murray --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/24/76 Ali's Alley

Taj Mahal --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
03/04/75 Paul’s Mall FLAC 16/44.1khz 1 A- Transferred & Tracked by Kingrue
03/16/75 Capitol City Theatre

Talking Heads --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
11/??/75 CBS Studios This sat around for a couple years and then in 2023 it was sent to Professor Goody who made some speed/pitch adjustments. Goody's Pitch Bender edits performed variously in Audition Thanks to Professor Goody for his help and the pitch adjustments
01/24/76 CBGB's Notes: - This same date, from a different taper (Andy M via BFOQ), circulates as "xx-xx-1976". - Andy M's recording patches; first 66-sec of AO, first 14-sec of 96T, and first 4-sec of 123RL. - The Television closing sets from this source also circulate. - THANKS to Lucy Sante for sharing the 50 year old master tapes!
06/26/76 My Fathers Place JEMS Notes: We've been fortunate to know CB for a few decades, first getting to know him for his pioneering work as one of the first serious Springsteen tapers along with his friend Joe Kivak. CB has always been generous in the lending of tapes, and when he recently moved away from California, he gave JEMS his entire reel to reel collection along with some nice, no longer needed gear. Among those reels were copies of the Talking Heads recordings CB made, some of best quality extant early tapes of the band. DIME is fortunate to have nfagtrfb curating an on-going series of Talking Heads releases from the best possible sources, including CB's tapes which have long been in circulation. But when I took a listen, I couldn't help but wonder if a better transfer might yield a superior result. A few months ago I asked CB if he still had the master cassettes and he sent them my way. This two-set show was the first time CB recorded Talking Heads and he did so on a Memorex 120, one of my least favorite vintage tape types to work with. Memorex tapes don't age well, with the pressure pads often disintegrating and the tape squealing to the point of playback distortion. I re-shelled the tape and it played back beautifully. The resulting transfer should be a material upgrade over the circulating versions. I will leave it to nfagdtrfb to explain that in greater detail as well as to contextualize CB's work among the earliest TH documents. Thanks to CB for letting us make what we hope is the definitive transfer of this historic material. nfagdtrfb Notes: Here's one of the best quality & complete trio-era recordings of the band; the tape is mono but captures the formative sound of the band very nicely. Tina’s bass is well-recorded along with David switching back & forth amongst his various guitars. The band is still finding its footing, with some big flubs in a few songs (…With Our Love and New Feeling, for example). This is the earliest (known) date of TH playing in the "CB's at MFP" concert series, which was an effort to bring "new" music from CBGB's-based bands out to Long Island. TH was opening early & late sets for Mink DeVille on this night, and judging from the tape, the crowd is appreciative despite not knowing the band nor any of the songs. This is also the first of two known recordings of "Theme", the TH instrumental & rarity. For some reason (technical or otherwise), Tina does not play on the encore, it's an unusual instance of David & Chris playing as a duo. THANKS to the JEMS crew & taper CB for providing this historical source!
11/05/77 Eisner & Lubin Auditorium NYU Loeb Student Center
08/18/82 Northrop Auditorium 24/96 flac
12/16/83 The Pantages Theater

Tangerine Dream --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/21/77 Paramount Theater 24/96 flac JEMS is proud to be able to partner with and present some of the choice tapes in the D & D archives. Some of these recordings have been around for years but none of the master tapes or safety copies in some cases have ever been digitized until now. Dave and Donn taped many shows in and around the Seattle area in the 70's and also were contemporaries of some of the JEMS members. The D & D series was a collaboration between our late parter Jared Houser, who did the transfers, and weedwacker67, who facilitated access to D & D’s tapes and did the posting. The series stopped, for reasons that aren’t important now, Jared returned the tapes he had, and the D & D Series went dormant. In fact, it has been six years since the last volume in the series appeared. I believe it was Vol. 31, making this Vol. 32, but I can’t be completely sure so I have left the volume number off. As I have noted before, with Jared’s passing not only did his tape library get transported to JEMS South, but also several hard drives full of transfers. On one of them I found a file containing all the original D & D Archive transfers, along with a sub folder marked “Still To Go To Weedwacker.” The folder contained several shows that were never torrented. This Tangerine Dream show is one of those that prepped but never presented in the series. Because Jared is gone, I can’t confirm if he was working from the master tapes or D & D’s first-gen safety copy, but either way, this is the lowest generation of this recording to ever circulate in a direct digital transfer. We know it is a familiar recording to TD fans, so we hope this presents a welcome upgrade. BK for JEMS Did you think JEMS' gems were growing scarce? We're on the holiday season already, and like most of you know, it's a time to give one another and show appreciation. Throughout the years, the JEMS team has been working hard to release uncirculated recordings sitting in others’ private collections (which were kindly provided to JEMS for proper distribution) but also, JEMS is known for releasing upgrades to well-known concerts and yes, this is one of those occasions. For the Tangerine Dream experts (and specially, for the contributors of the Tangerine Tree project) this is probably a well-known concert that has circulated for years from (probably) non-verifiable sources, but this time, we're glad to finally put a known-lineage recording in circulation. For those previously listened to the show via the Tangerine Tree project, I hope you will agree with me that this recording stands as one of the best, as it's really clear and the sounds very sharp. Samples provided. The crowd also helps in that matter, being quiet most of the time and just showing deserved respect during the breaks. There's not much else to say, since Tangerine's music is instrumental, we can only expect you to enjoy this recording as much as we do, so please do not hesitate show your gratitude in the comment section. This is a 24 bit/96 khz version for those who love high-resolution recordings. A 16 bit/ 44.1 khz version is also posted for those who prefer recordings suitable for CD-Burning. The JEMS Archives are vast and we're still scratching the surface. There a lot of other recordings waiting for proper transfer/upload and we'll always work for liberate them for your enjoyment. Please do not hesitate any time to contact the JEMS team if you have any old tapes that you recorded or collected and you're waiting for them to be transferred. REMEMBER: What you may consider to be a "B show", could be the holy grail of another person! Special thanks to tadreamer62 for his help with this recording and helping with the setlist. Last but not least, we, all the people that comprise the extended JEMS family, want to wish happy Holidays to all of you. frogster

Television --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/14/77 Whisky A Go Go
06/09/78 My Father's Place SATISFACTION FROM SECONDARY SOURCE LINEAGE UNKNOWN SOUND IS DIFFERENT SO IT'S EITHER FROM ANOTHER MASTER OR A DIFFERENT SHOW THIS TRACK IS ON THE WELL KNOWN BOOT GOING AROUND BUT COULD HAVE BEEN TACKED ON AS FILLER.
07/02/78 Earth Tavern 16/48 flac

Third World --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/27/76 Zimple Street Notes: - To my knowledge, this is the earliest live recording of Third World. Great source!!! This recording was released in conjuntion with the Freezers Rhapsodizers set ofor this date. Both recordings go hand in hand, and imo, should be listened to together. - Very little was done to this recording by me, there was a bit pf pre emphasis on the recording that I smoothed out some and some left and right channel level fluctuations that I balanced, but basically, this recording was pristine from the get go. All thanks to Freezer for taping and letting this piece of history out. - Recording starts with music playing, it doesn't sound like much is missed. - Satta Massagana has some very heavy instances of feedback at the end, these were attenuated at the board and the music becomes almost inaudible at times. Very minor glitch in a superb recording. - Recording ends with the last song fading out, again, it doesn't sound like much is lost. --------------------------------------------------------- - Taped by Freezer - Transferred by Freezer - Edited by Bgreen - Tracked, flac'ed, and packed by Chrisj - First seeded to www./www.thetradersden.org 06/2009 - Brought To You By Live Music Preservation Project - contact: lmpp.productions@gmail.com
11/12/76 Pipeline Tavern 16/44.1khz JEMS is proud to be able to partner with and present some of the choice recordings in the D & D archives. Some of these recordings have been around for years but none of the master tapes or safety copies in some cases have ever been digitized until now. Dave and Donn taped many shows in and around the Seattle area in the 70's and also were contemporaries of some of the JEMS members. Volume 17 is quite the rarity recorded by Dave capturing long running reggae band Third World at the beginning of their musical journey. This show is in support of their debut album but they do preview new songs from their yet to be released at the time second album. Third World is one of those oddities in reggae in that they made their bones internationally in England and America first before gaining widespread acceptance back at home unlike most reggae bands who make it big at home then gain an international following afterwards due to their more mainstream and eclectic mix of reggae with pop and R&B among many various influences.
??/??/82 Hammersmith Odeon Notes: This show was also released as BBC In Concert #280, with the same set list in the same order in July 1982. Digitized directly from the syndicated radio LP. Unfortunately, the cue sheet is missing. Many thanks to draftervoi for all his efforts and providing this file set through his Voodoo Wagon blog. Support the artists! Buy their official releases, go to their concerts! Trade freely! Do not buy or sell! Keep it lossless! Uploaded to DIME by propylaen in November 2016. BBC college series #5 Live radio broadcast. Broadcast date: 10-10-82 Audiophile Quality. This is from an original mint- Radio station vinyl disc. Transferred with a super fine turntable & stylus. Ads removed. Fades between tracks. add.edits: - removed clicks and pops - balanced: L-channel +0.40 dB - retracked
06/15/86 Giants Stadium fantastic audience recording that is superior to the FM and cable-TV broadcast versions of this set.
08/01/87 Renaissance Theatre Club
12/03/87 Chestnut Cabaret Thanks to BR, Nicky C and the Philly Crew for helping me to get this stuff out. Dedicated to the late great Kris Wescott.
05/28/88 Northwestern University 24/48 flac
07/26/88 Capitol Theatre
05/17/89 Universal Amphitheatre 24/48k
11/29/89 The Catalyst

Tom Constanten --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/28/94 Fillmore Auditorium A 25-minute solo performance, in three parts. There are lots of themes and riffs in here. The major ones have been broken out into tracks, but really the first 15 minutes is one piece of music, Dejavlse is a short encore, and everything in between is something else, dedicated to Papa John Creech. The first five minutes of the SBD feed was nearly mono, and then suddenly it switches to full stereo. No idea why. It doesn't sound bad, and if it doesn't sound broke, don't fix it. The levels needed some fixing, though. Enjoy! --mhg :: 2021-02-02

Toots & The Maytals --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
02/07/78 Santa Cruz Civic Auditorium via grner1: The sections that were spliced in were missing from the station reel. That reel started with the stage intro and the encore break was cut out completely. For that reason the station reel was likely a 1st gen. copy and not the master. However you label it I think it sounds great (check the sample to judge for yourself). Enjoy & Share!
11/25/82 Bob Marley Performing Centre
05/03/83 Wax Museum "not sure who i got this from, but probably a dc taper in the mid 80s. this almost sounds mono or very tight stereo. quality is pretty good." - ismokeweed
02/01/89 The Catalyst
02/01/89 The Catalyst
04/21/90 Chestnut Cabaret
04/24/91 Lone Star Roadhouse Possibly one of two shows that evening as Toots' comments before 54-46 Is My Name include "I want you guys to {garble} the second show." Or, this could refer to the performance scheduled for the next day. Unfortunately, there's too much talking in the crowd, but eventually people quiet down as the music captures them. Some mic cord static during the banter at the beginning of Funky Kingston has been repaired but not eliminated. Enjoy! --mhg :: 2025-05-28
08/02/92 Mateel Community Center 16/48k
09/08/98 Higher Ground 16/44.1khz
09/16/01 Kat Man Du ** Show Notes *** ~ 16 bit / 48 kHz ~ RIP - Toots Hibbert (1942-2020) ~ Junior Toots performed one of his tunes with the band to open for his father (d1t02) ~ From the Teddy Ballgame Collection - thanks Ted!
08/28/08 The Santa Monica Pier

Tower Of Power --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/03/73 Record Plant Notes: This show is commonly dated as June 15. That was the broadcast date. June 3 is the performance date. There is an 11 track (~57 minute) version of this. It's basically missing tracks 10-12 on this version. Its source may the same as this. There is also a hiss reduced remaster from Jazamo of the shorter version. There is also a 3 song version of this show, which was broadcast for "Live Jive" on KSAN-FM. The source for this revision was originally shared by mr_mags on January 25, 2014, who got it from agalli. This is from a new rip of those same CDs by agalli. -the audio was running fast, so speed corrected by -1.8% -automatically balanced levels -automatically phase corrected the channel alignment -using Audacity, I cut out the duplicated introduction to "Knock Yourself Out" which appeared on track 9 for some reason. I also moved the broadcast outro that was originally on track 9 to the end, seamlessly joining it with track 13. Ross (ledwhofloyd), Dec. 2025

Traffic --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
02/06/71 Kongresshalle-Messe
10/09/71 Public Hall 16/44.1khz FLAC 1

Twinkle Brothers --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/12/85 La Paloma Theatre

U-Roy --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
07/06/90 Saratoga Performing Arts Center (got set up about 15 minutes after the concert started)
06/18/00 Unknown
06/21/03 SNWMF
04/23/09 La Bellevilloise "I don't know the recording equiptent, but a friend worked for a Paris TV station that recorded audio and video of many shows in Paris. He sent me a copy of his master WAV file which I tracked into FLAC files." - dubwise
04/26/09 Le Plan 16-bit/44k flac Notes : Sunday evening at Ris Orangis, near from Paris. Pablo Moses is touring in France along with U Roy. U Roy toasted the venue with his usual power. at arrival, I managed to get a Sbd plug and did for the 1st time a soundboard recording. The sound is great. Seeded at Dime for the 1st time in 2021. Have a good time enjoying the show. Enjoy Semayat

Van Halen --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/23/80 Civic Auditorium Notes: This recording is unaltered apart from channel balancing, some de-crackling, and tracking. Thanks to Charley C. from The Dogs of Doom for acquiring and transferring this tape!
10/04/15 Hollywood Bowl

The Wailers --- Approximate Hours: 3.75
Show Date Venue Media Type Media Count Sound Quality Notes
10/27/81 Rissmillers 16/44.1khz FLAC 1 with Joe Higgs, Bunny Rugs, Michael "Ibo" Cooper, Stephen "Cat" Coore, & Freddie McGregor
11/25/82 Bob Marley Performing Centre
11/03/84 Universal Amphitheatre FLAC 16/44.1khz 0
03/04/87 The Country Club SBD > Cassette Master > Cassette [2020 Transfer / 24-48 Fileset]
04/10/87 Unknown 16/44 flac
05/30/87 Renaissance Theatre Club
07/05/87 The Roxy ~ Late Show FLAC 24/44.1khz 1 A-
03/02/88 Chestnut Cabaret
10/21/88 Capitol Theatre
04/05/00 Trax
09/02/01 the moe.down, Snow Ridge Ski Area FLAC 16/44.1khz 1
08/18/02 Gathering On The Mountain, Big Boulder Ski Area 54lb Donation Creatured Transfer & Seed November 6, 2022
10/16/02 Union Theatre ~ University of Wisconsin 16/48khz FLAC
09/18/04 Zilker Park 16/44.1 flac
06/13/05 Melkweg
07/03/14 Marin County Fair
06/11/15 Hampton Beach Casino Ballroom
03/17/18 Indigo at The O2 "Familyman was brought on stage sitting in a wheelchair, no explanation was given. He did try to play bass from a sitting position but eventually gave up. I don't think I've been to any other gig where there were so many people up and dancing at their seats. It was a real party atmosphere."

Wailing Souls --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/05/81 The Catalyst via grner1 (2006-08-22): Last month a Steel Pulse Catalyst show from April 1981 was posted that had the last song of this Wailing Souls show stuck on the end. After requests for more Wailing Souls, I went looking and found an off-air reel master. My reel turned out to be missing that last song, so here it is stuck correctly on the end of the rest of this KUSP-FM broadcast. It is definitely from the same broadcast since the mix is the same with the stage announcer in the background and other distinctive sound features. Back then, KUSP tended to have rather noisy reception but it is not very noticeable during the music - check the sample to hear for yourself. One of the stage vocal microphones cuts in and out a bit in the beginning of the second set, but this is a really good show and you should find it quite enjoyable.
05/13/10 Hootananny Brixton

Wayne Shorter --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
10/09/85 Palace Court
10/16/85 Key Largo Club Original broadcast credits Broadcast announcer is Al Prior Recorded by Scott Charles, the mix engineer at KPLU at Tacoma, Washington Field engineer and post production by Charles Tomas Editing notes: -automatic phase correction between 2 and 8 samples -automatically balanced levels -transfer was running slow, so speed corrected -started 2.4% slow for tracks 1-7 -gradually changed to 2.65% over tracks 8-10, stayed at 2.65% for tracks 11-12 -gradually changed to 3.0% over track 13-14 Ross (ledwhofloyd), Mar. 2024
11/14/85 Jonathan Swift's 16/44.1khz Goody's notes: The speed of the source ran rather fast, averaging between approximately 66 and 75 cents sharp. Levels are often inconsistent, with occasional dropouts and lowered or suddenly raised volume, so assume this to be a rather dynamic show upon playback and adjust your ears accordingly... It's an excellent capture with fat, warm lows and nice details all around. Some levels are a tiny bit hot, but only briefly so and by no means shockingly unlistenable. The balance allows for everyone to be heard in their right place. Many thanks to Ian for bringing us this Michael Maleson recording to bring back to life! This edition - November 24, 2022

Wayne Shorter Quartet --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
04/13/90 Georges's note: The late and much missed MM recorded this show from the audience using an unknown stereo cassette recorder. A copy of his now-lost master was made using a Maxell UDXL II 100 with Dolby C not long after the show. That copy was digitized in 2021.

Weather Report --- Approximate Hours: 6.25
Show Date Venue Media Type Media Count Sound Quality Notes
05/10/73 The Landmark at Union Station
06/27/73 Saratoga Performing Arts Center “The band consisted of Josef Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt, and Dom Um Romao. WR followed the Climax Blues Band and preceded BB King. The taper sat in one of the first few rows of the large SPAC shed, to the far right, and recorded WR only, using Memorex cassettes and a Panasonic Slimline cassette recorder. Many years later, the cassette reels were transferred to new cassette shells and the recordings were digitized into WAV files via Goldwave before being losslessly compressed into APE files. Years after that, the APE files were decompressed back into WAV files before being compressed into FLAC files. Goldwave was used to mildly edit the beginnings and endings of the files, boost the volume of files as needed, divide the files into tracks, and to detect and correct DC offsets. No EQ was applied”.
08/05/73 Nagoya Civic Assembly Hall Notes: --- (*) = This Is What The Original Folder Was Labeled As; While I Assume That This Is An Incomplete Recording, I Cannot Confirm If This Is An Actual Fm Source Or From An Pre-fm Source. --- Tracks 4 & 5 Were Originally Combined As One Track; Besides Retracking It, No Additional Processing Was Done At All. --- Thanks To Obnoxius For The Flac Files And For Giving Me Permission To Share This.
09/27/73 Sam Carver Gymnasium FLAC 1 B+ Greg Errico [from Sly & The Family Stone] on Drums
01/31/74 Chapin Hall
02/27/74 Unknown Original audio shared by jazzcdburner in Dec. 2004 Original Notes (jazzcdburner): This is a great sounding show, its so heavily improvised that the tune identification is difficult. Please help with track 2. Revision Notes: The original audio was running fast: Tracks 1-3: -3.6% -cut Track 4: -3.0% The channels were time misaligned. I phase corrected the following: Tracks 1-3: Right channel was leading the left by 6 samples Track 4: Right channel leading the left by 2 samples There are EQed/remastered versions of this recording from kinebee and rlouk. Those have the same speed issues as the jazzcdburner original audio version, and I think are sourced from it. It would be nice if a lower gen version of this recording could surface one day. -ledwhofloyd (Ross), Mar. 2022
07/08/74 The Bottom Line
07/13/74 Lisner Auditorium
09/21/74 Wesleyan University
03/22/75 L'Olympia Notes: Thanks to 'penguinzzz' for the source used for this remaster. It ran a bit fast/sharp and I slowed it down as needed to properly get it back in tune, etc. Additional thanks go to 'glasnostrd19' for providing the source of the patches* used to fill the missing parts cut from this source. This edition - April 11, 2023
11/10/75 Salle Pleyel
04/01/76 Hill Auditorium
04/18/76 Orpheum Theater notes: Jaco's 1st stop in Boston with Weather Report a couple of weeks after he joined the band. was hoping more of this fine set would turn up before sharing, but this is all that has been found after years of looking. hopefully it will help unearth the rest of it, although not even half of this show, the music and recording is enjoyable (aud) this sounds like one full tape side, probably of a 60 minute cassette. after listening to about 80 minutes of a blistering Shakti set before this, Weather Report sounded like lounge music by comparision, but only to that, and not much else. this was also a very good concert, as most of theirs were. but how can they have Weather Report opening (for anyone?) that didn't happen in Jaco times. they had to be reminded on this tour, why Miles Davis did not like headlining shows. such as 1982 Boston show with Pat Metheny Group. (he found openers a distraction to his own performance and concentration/focus on the music, whether great or awful or anything in between)
04/24/76 The Tower Theatre FLAC 16/44.1khz 1
05/03/76 Electric Ballroom Notes (May 2025): -a different version of this recording was circulated in 2023 which is missing the last part of the recording -I think the other version is either from a different traded cassette or a different transfer -there is an odd cut at 2:05 of track 7 with a slight change in audio quality (a similar cut exists on the other version but with a less noticeable audio quality change) -the pitch/speed isn't quite as good after the cut as before it, but still good enough to not have to speed correct it -I seamlessly removed a few seconds of repeated audio between tracks 7 and 8 **When I first shared this, I forgot to realign the sector boundaries between tracks 7 and 8
05/29/76 Greek Theatre - UC Berkeley 16-bit/44k flac
05/30/76 Roxy FLAC 16/44.1khz 1
05/25/77 Civic Auditorium FLAC 16/44.1khz
09/26/77 Kursaal Original note: speed/pitch is way off; earliest show in circulation with Jaco using the MXR delay? Goody's additional note: The original tracks ranged between approximately 1.92 to 2.24 semitones sharp. This edition - 1/10/23
11/30/77 Majestic Theater 16-bit/44k A Goody Speed/Pitch-adjusted Remaster via michaelmee Enjoy, mee and goody This edition - March 19, 2023
10/11/78 Hammersmith Odeon 16-bit/44k flac
11/26/78 Berkeley Community Theater
05/26/79 Greek Theatre We are pleased to kick off a series of releases from a long time West Coast taper/collector that recently passed away. He transferred his extensive archives to CDR years prior to his passing and then passed it to a close friend. His friend has been involved in the West Coast music scene for the last five plus decades and understands the importance of getting these historic shows out to the collector’s community. We are working closely reviewing the shows and researching current circulation as well as possible upgrades. Our ninth release is a VERY welcome addition, though it has previously circulated from unknown generation copies, we finally have the master capture (master tapes > CDR) for Weather Report's May 26, 1979 performance at the 13th Annual UC Berkeley Jazz Festival at the Greek Theatre. This is a very nice upgrade to previous versions, here's hoping our benefactor also captured Sonny Rollins and Pat Metheny playing on the same day. There are a number of folks we are indebted to for access to this exciting new archives, the anonymous West Coast collector, may he rest in peace, his friend that had the motivation and understands the need to get these historically important shows into circulation before they were lost forever and a huge thanks to dime member “davmar77”. He did not currently have the bandwidth to facilitate such an undertaking at this time and put us in touch...this is how dime should work. Also, a big thanks to Goody, our pitch master, for not only ensuring we are running at the right speed but lending an important hand in helping with the track editing. Dimers don't wait until it's too late to get those archives into circulation. mjk5510
06/16/79 Playboy Jazz Fest FLAC 24/44.1khz 1
06/16/79 Playboy Jazz Fest FLAC 16/44.1khz 1
01/25/80 Orpheum Theatre
07/18/82 New Hampshire College Jazz Festival

The Who --- Approximate Hours: 1.25
Show Date Venue Media Type Media Count Sound Quality Notes
08/10/68 The Jaguar Club 1st gen from the JEMS vaults. The recording is listenable but primative sounding. It is still probably an upgrade to most circulating copies of this recording as it is and is the 1st time this particular tape has ever been properly digitized in any form (Dec 2010). "I got this from the guy that taped it after meeting him at a record show in Chicago. Features "Daddy Rolling Stone" and a early long version of Magic Bus most likely featuring a young Bobby Pridden on additional percussion at the beginning with Keith." tapeboy for JEMS
03/09/76 Boston Garden FLAC 24/96khz 1
12/03/79 Riverfront Coliseum Perhaps the most tragic concert in the history of rock and roll. The third night of The Who's Winter '79 tour is infamously known for the deaths of eleven fans outside the doors of the Riverfront Coliseum before the show. Wikipedia does a solid job of explaining the circumstances around what happened. They can be found here and we've included the text from that page in the torrent as well: http://en.wikipedia.org/wiki/The_Who_concert_disaster The Who themselves went on and played their set, blindly unaware of what had happened until after the show ended. As with the show the night before in Pittsburgh, there were several firecrackers going off in the crowd which was again addressed by Pete. Despite not knowing what had occurred before the show, Pete and Roger tried (unsuccessfully) several times to get the crowd on the main floor to stop pressing forward. It was an extremely volatile situation inside as it was out, which may explain why the show actually wasn't canceled on the spot for fear of what the crowd might do. Despite the terrible circumstances, there's no getting around that the Who's performance this fateful night was great, building on and surpassing the previous two nights shows. In "My Generation," Pete played his bolero for the first time on this part of the tour. Earlier, when introducing the new/additional musicians on stage, PT referenced other horn-section rock bands Chicago and Blood, Sweat and Tears, then dubbing The Who "Blood, Sweat and Shit." Samples provided. When the band left stage after the main set, they were told by their management to play a shorter encore; the first sign something was amiss. After the encore they were told what had happened before the show. These terrible circumstances, obviously, cast a shadow over the rest of the tour. We drove to Buffalo the next day, not entirely sure whether there would be a show or not. There was, and the band addressed what happened in Cincinnati from the stage. But that's the next installment of our Who '79 Revisited campaign. For now, you can listen to the bizarrely unaffected performance in Cincinnati by a band that had no idea what had happened to their fans before the lights went down. Tapeboy for JEMS ___________________________ Additional comments by ademotte: This is perhaps the most important show in The Who's career for all the wrong reasons. It was unfortunate that the poor crowd control efforts by the promoter tarnished the band's reputation for several years to come. The performance itself was quite good, and listening to it you can empathize with the band for doing their best to manage an out-of-control crowd. In terms of sound quality, I feel as though I say this with every JEMS torrent I post, but the sound quality is exceptional given the era in which it was recorded. My guess is that J was crunched on the floor and doing his best in a very hostile setting. There are only minor moments of crowd interference that don't really distract one from the music; the overall sonic range is very good with good balance and a great live feel. This is the third version of this recording I've heard, and it's by far the most interference-free and best-sounding of the bunch. Many thanks to the JEMS team for their efforts in digitizing this tour, and in particular sharing this historically significant document. More to come from this run shortly. This 16/44.1 version can be directly burned to CD without conversion. Mp3 samples are included in the comments.

Woody Shaw --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
12/31/79 Jazz Showcase

World Saxophone Quartet --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/30/82 JFK Center Concert Hall via ismokeweed: "sorry no setlist - please list if you know might not be trk'd correctly. this is a partial recording. the first 10? 20? 30? minutes are missing. there were alot of great acts playing and it was hard to choose what to record. i recorded several acts and have 2nd gen sbds of others."

X-Ray Spex --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/25/78 CBGBs

Yardbirds --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
05/29/68 Concord Coliseum Goody's notes: When last presented, there was a duplication in the first 2 songs in both the original Concord Coliseum offering and those same titles found in that of the Fillmore Auditorium show which led to us determining what belonged and what needed replacing. Those tracks were correctly included in Concord and we set out to replace the correct ones for Fillmore. This means that those of you who originally heard Concord were hearing the complete show, meaning that you may know it quite well by now. All of the music here is the same but with the following changes. Not very much needed to be done to this upgraded edition. The sound field slightly favored the right side and there were some overly hot levels in the red - now the channels are aligned and a bit more centered and the levels are tamed. Additionally, there were low and uneven levels in 'Heart Full Of Soul' which greatly favored the right channel much more heavily over the left around the 1-minute mark through to the end. I raised the level of the left channel back up to its rightful volume. The speed and pitch of the original appeared to be spot on and needed no adjustment. The sound here is quite nice and this didn't get the additional mastering treatment I applied to the Fillmore show, which is being released concurrently with this one in its original un-EQ'd state as well as a lite-EQ'd remaster. My HUGE thanks go out to DocDondy for shepherding this project from start to finish and to Sourceman for, well, of course, what else - his sources! Ethiessen1 has also delivered an outstanding package of artwork which you'll also find among the folders here in the original style of DocDondy's own trippy cover concept (included as well) with higher resolution photos and typefaces. DocDondy and I extend our many thank yous for the hours he spent putting all that together for us all - it makes the total package that much sweeter and we appreciate it greatly! This edition and text updated November 20, 2020 by Goody.

Yellowman --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
09/09/82 Rissmillers * give thanks to mark persic for recording and sharing this gem!!! "This is a radio broadcast of a show Yellowman did w/ his DJ spinning his dub/riddim's in the back ground. There is no doubt that Yellowman rule up de dancehall in the early 80's" this set is just great!!! sweet sound too (easy A for me, but i can easily see others giving it an A-)!!! and the crowd is really fun too, especially the women!!! (just a few <1 or 2 ? > equipment, broadcast or interference with the reception issues but very solid overall. for example, d1t4 around 2 min ... its hardly worth mentioning)
09/23/84 Rainbow Music Hall
08/23/97 El 'N' Gee Club

Yes --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
01/21/72 Concertgebouw 16-bit/44k Doinker: "It is my contention that even if you own this LP... you've never really heard it before. This Dutch album on Offshore Records is the definitive recording of this show. Forget the CD reissue - I have it, it stinks. Upon listening to this record, I found it to be running noticeably slow. It was pitched by ear on the turntable, resulting in an improvement in the sound quality. This is one of the best Yes performances around, don't miss it!"
11/23/73 Rainbow Theatre 24/96 flac Notes: Previously uncirculated, this is the second earliest recording to surface from the Tales from Topographic Oceans tour. Especially notable is the presence of Starship Trooper, a song not previously known to have been played on the UK leg of this tour. Thanks to J from Pink Floyd Bootlegs on YouTube for arranging the release, to neonknight for transferring the reel, and most of all, to John Baxter for having taped this show and for generously sharing it 52 years later! Additional notes from neonknight: This mono recording appears on track 1 and track 4 of channel 1. The transfer was completed using a matched pair of empty 7-inch Maxell reels. There was a fairly heavy oxide deposit on the tape after each side, although none was left on the heads. The tape was transferred in stereo using the Tascam, with the slightly weaker channel subsequently removed to retain the stronger signal. The original recording was made on a Philips N3304, which John had borrowed from a college friend. Yes played five nights at the Rainbow Theatre: Tuesday 20 November 1973, Wednesday 21 November 1973, Thursday 22 November 1973, Friday 23 November 1973, and Saturday 24 November 1973. John went on the Friday with a group of friends who then spent the weekend with a friend in Maidenhead. In between pieces of Topographic Oceans the ambient sound you can hear is from Seasons by Wendy Carlos. notes and editing by beyondthemoon 2026-03-18
12/06/73 Apollo Theatre We’re excited to launch a new series built around low-generation archives of Yes and Yes-related shows. In the best spirit of how dime should work. Longtime collectors Carl and Kevin-names many of you may recognize-had been combing through old boxes and uncovering shows they’d spent years tracking down in the lowest-gen sources available. The tapes were sent to Tooleman, but his transfer deck is currently out of commission, he contacted Goody to try to find someone willing to take on the task of transferring and evaluating roughly 60 tapes for potential upgrades. Goody reached out to me, and as I apparently have an illness that won't allow me to pass up any opportunity like this, I was more than happy to take the project on...no tape left behind. I consider this first release a meaningful upgrade to the three circulating versions for the December 6th Glasgow show at the Apollo Theatre, recorded just one day before Tales From Topographic Oceans hit the shelves. While the exact generation isn’t listed, Carl and Kevin’s diligence strongly suggests it’s very low-gen and to my ears has less hiss and more clarity. I spent about four weeks restoring & remastering this one between other projects, and then Goody stepped in to work his magic-correcting pitch issues and taming tape instability, wow and flutter-bringing the recording up to another level. The lo-fi capture is limited by taping location and the recording gear of the era, but I now find it a genuinely enjoyable listen for its time and context, all 4 sides of Tales From Topographic Oceans are played in their entirety. Thanks to Carl and Kevin for ensuring their years of collecting weren’t in vain, and to Tooleman for facilitating the acquiring of these tapes—and for Goody reaching out and his excellent work on this show. Thanks also to forgotten-yesterdays.com for show details, the adverts and ticket stub included in the torrent. Artwork is included... mjk5510

Yoko Ono --- Approximate Hours: 2.5
Show Date Venue Media Type Media Count Sound Quality Notes
03/13/96 The Roxy FLAC 16/48khz 1 Performance dedicated to Timothy Leary
06/16/96 Golden Gate Park - Tibetan Freedom Concert FLAC 16/48khz 1

The Youngbloods --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
03/23/69 Avalon Ballroom

Zawinul Syndicate --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/29/88 The Palace ROBERT COLLINS NOTES: This isn't one of my own recordings, but from one of my close friends. This recording comes directly from the master tape. The master tape is marked July 8, 1988, however I question if this is the correct date. The Los Angeles Times reviewed this concert on July 1, 1988. So that leaves the possibility that the date on the cassette tape is incorrect, or Zawinul Syndicate booked a second date a week later at the same venue. Los Angeles Times Review by Leonard Feather, July 1, 1988: https://www.latimes.com/archives/la-xpm-1988-07-01-ca-6263-story.html As can sometimes happen, I'm not familiar with all of the song titles, or some of the titles are unreleased. I did my best to figure out all of the names, and for those still unknown, I gave them my own titles. Feel free to make corrections as necessary. PSYKIES NOTES: Date cannot be July 8 as the Zawinul Syndicate were in Italy on July 7 and the North Sea Jazz Festival in The Netherlands on July 9. Based on the LA Times article the correct date is likely Wednesday June 29, 1988 which is the day after they played the Great American Music Hall in San Francisco.
07/20/90 Town & Country Club barkndog's original notes: I originally posted this show in December on EZTree. For those who missed it then or who are new to DIME, here's your chance to grab the best Zawinul Syndicate show in circulation. No joke! This is intense fusion - not the mellow World Jazz that Zawinul plays today - and Henderson is absolutely on fire. Transferred directly from my master tape. Recorded in London, UK from Jazz-FM (when they were a real jazz station!) ...to which, goody adds - Upon revisiting this show recently, I discovered that it had never been checked for speed/pitch integrity and took care of things for this update. I noticed that it started out a bit slow/flat and gradually changed speed/pitch negatively throughout. I've done what I could to reverse the damage to the best of my ability and I do believe that it's a worthwhile improvement to an already blistering show. I echo barkndog's comments and give thanks for this otherwise most excellent source to all named parties not my own! Covers by ethiessen1 (Thanks!) Enjoy! Text updated - 9/24/15; 11/20/25 (Goody)
11/24/91 Blue Note Volume 160 features the Zawinul Syndicate as Joe Zawinul carries forward his Weather Report legacy, the Syndicate emphasized groove-driven fusion with global rhythms. TapeTyrant gifts us another beautifully captured early and late show from the Blue Note. As always, big thanks to Goody for both pitch guidance and setlist assistance. Ongoing thanks to "Tapetyrant" for doing such a great job capturing these historic shows, and for reaching out and entrusting me to present his excellent work for all to enjoy in the coming decades. We are indebted to his generosity, tapers don't let those tapes and your hard work get lost to the ages, there are plenty of folks to get in touch with here to help get them out, we're all working hard to leave no tape behind. Artwork is included. mjk5510 and TapeTyrant
06/13/93 Hollywood Bowl

Zero --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
06/24/87 Agora Ballroom This is a fresh 2017 master transfer done on better equipment and corrects an issue that has bugged me since I first recorded this. Because the Sennheiser 441 taper was also near the board at the rear of the room, his signal (of the stage) was lagging nearly 30 milliseconds behind the direct board signal going into my 550. As such, the master and all previous transfers had the two channels too far out of sync, resulting in a cavernous listen. The Agora WAS a cavernous sounding room, but I found the delay between the two channels annoying. I made copies of this master for all my friends that were there and many others over the years, so I know its commonly circulating. There's even a questionably remastered version where someone simply mixed it to mono, resulting in an even muddier listen (that still sounds cavernous!) This is the first time both channels are closely time aligned and it sounds considerably better, while still maintaining that Agora ambience. I've also included the complete tape, including what passed for a soundcheck as they were tuning up. The first 2:32 of the first song has the soundboard feed in both channels. They were mixing the house in mono and the board mix was far from ideal, so during the first song I decided to take a patch off the 441 taper, in an effort to get the best of both worlds. The channel split is from there on out. Mix adjustments occur during the first two numbers. I was also messing around with the separation and levels, but all that settles down about halfway through "Tangled Hangers." This was a good night all around, with Cipollina in fine form. CT reggae band Cool Runnings opened. - Alan Bershaw

Ziggy Marley --- Approximate Hours: 0
Show Date Venue Media Type Media Count Sound Quality Notes
08/24/95 Mann Center for the Performing Arts
05/30/03 Barrymore Theater 16/48khz FLAC anecdote which happened during the first song: t03 ~4:42 My friend says "hey, hold my beer for a second" 'cause the security dude could not get this passed-out girl out of the aisle and was kinda manhandling her in his efforts. My friend helped her to a couch in the lobby where her friend said "Sometimes she blacks out!" Also a big dude was passed out having a seizure or something. t03. ~5:50 right before the end of Melancholy Mood, my friend returns and is heard to say "the girl's okay"
07/04/03 Red Rocks Ampitheatre There are a random few low volume digi zaps from DAT transfer issues.
08/01/06 Bowery Ballroom
11/09/06 Irving Plaza
12/06/06 Rialto Theater 24/48k Total Steath operation. The first song I was 10' off stage, center. The next two songs 20' back, and the remainder of the show was recorded 35' or so back at the center stage. This is to my Knowledge the only source of this great peformance by Ziggy.
06/14/09 House of Blues
07/03/12 Weesner Family Amphitheater
08/03/14 Seaside Park
08/19/14 Ogden Theater A-
08/12/15 Sonoma Mountain Village 16/44.1 DaspyKnows: "I missed getting tickets for the Mountain Winery show on August 13 so when this was announced I had to grab it. Steel Pulse is one of my favorites and I try and catch them each time through. Last year I saw the double bill with Ziggy Marley I arrived early especially since this was a new venue for me and didn't know the routine. While I was waiting for the doors to open the person who was in charge of security comes out and starts listing the "no's". I recogize him, he was the guy who busted me at Steel Pulse Kaiser 1991 when a friend's ex-wife who worked security outed me. He didn't recognize me fortunately. All was easy and got to my seat ten minutes before the music started. Steel Pulse comes out and is on fire. Definitely a solid, but too short performance. The two seats to my right are empty so I am dead center. During Hands Up Don't Shoot a guy comes by holding a drink, smelling like a bar comes in and and tells me I am in his seat. You can hear him unfortunately. Aside from that, the crowd isn't bad, the sound was great and the mix was bass heavy. Somewhat of a different set list compared to the last time I saw then in June. Between sets the crowd comes in a bit and two women sit behind me. Ziggy Marley and his band come out. Just like Steel Pulse, great sound and a band on fire. The seats in front of me are open then in the two rows in front of that there are two couple sitting one in front of the other. During the music they are having a conversation like they were at a bar of restaurant. Between songs the women are screaming. Not concert screaming but the plane is going to crash, we are all going to die screaming. Luckily they are behind me. A few songs in a big fat dude wearing sunglasses in the dark grabs the seats(s) in front of me and starts dancing wildly. Arms flying and people giving him space. A few songs in the screamer behind me starts tapping my shoulder while the music is playing. I move she does it again. After the third time I turn around and give her a dirty look and turn back to music. Turns out she is trying to get fat dude's attention to tell him he was in the wrong seat and he should be next to them. He then turns around and pushes me aside to talk to them. I tell him to turn around and stfu. Fortunately he does. Over the course of the set others next to him left so he wasn't in front of me. At one point his swinging arm his me in the stomach but he sort of moved right after that. By the end of the set I had a perfect view of the stage and really enjoyed the set. I always like when he does his father's songs. It is like he is channeling Bob. Since they had a 10:30 curfew there really wasn't an encore but the last song was a newer song called Fly Rasta where two of Ziggy's kids came out. His son, I'd say 7 or 8 played persussion (hit a cymbal) and his daughter maybe 3 or 4 was dancing. Both had headphones on. His daughter was smiling and watching her dad and he was watching her. It was a classic moment."
07/05/23 Maine Savings Amphitheatre
07/17/24 Virgin Theater FLAC 24/48khz
09/30/25 Iroquois Amphitheater
10/05/25 Salt Shed
10/17/25 Mountain Winery

Ziggy Marley & the Melody Makers --- Approximate Hours: 3.75
Show Date Venue Media Type Media Count Sound Quality Notes
02/11/87 Coach House
05/11/88 Hollywood Palladium
08/22/89 Lake Compounce
09/01/89 Saratoga Performing Arts Center 24/96khz FLAC 1
07/14/90 World Music Theater FLAC 16/44.1khz 1
08/17/90 Shoreline Amphitheatre FLAC 16/44.1khz 1
03/07/98 Westbury Music Fair Volume 10 of the Tape Tyrant Archive Series