Smuggled Sounds

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Wednesday, December 31, 2008

Ozzy Osbourne - Clarkston Madness 2003

Ozzy036


01 War Pigs & Mr. Crowley
02 I Don't Know
03 N.I.B.
04 Goodbye To Romance
05 Iron Man
06 Children Of The Grave
Ozzy with Jason Newsted - 2003 July 24 Clarkston, MI07 Suicide Solution & Band Intro
08 Zakk Guitar Solo
09 I Don't Want To Change The World
10 Road To Nowhere
11 The Wizard
12 Crazy Train
13 Mama I'm Coming Home
14 Paranoid

SOURCEAUDSOUND QUALITYB+FORMATMp3BITRATE256TRACKS #14
LOCATION / VENUEClarkstonDATE24–07–03
NOTES:Jason Newsted On bass!!

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Monday, December 29, 2008

Jimmy Buffet - Tuesdays, Thursdays, Saturdays

Buffett and the Coral Reefer Band are famous for their concerts. Most shows consist of 26–30 songs and two separate encores.
A few tours, (notably Banana Wind Tour '96, License to Chill '04, and Party at the End of the World '06) Buffett opened the show with one to three acoustic songs. The Great Filling Station Holdup and Pencil Thin Mustache are common acoustic openers as well as Changes in Latitudes, Changes in Attitudes, The Wino and I Know, Son of a Son of a Sailor, Migration, Boat Drinks and My Head Hurts, My Feet Stink and I Don't Love Jesus in recent years.
With the exception of Fruitcakes '94 and License to Chill '04, Come Monday is played during the first set of the show. Usually, after 12 to 14 songs, a 20-minute intermission is taken while a video plays for the fans.
The first part of the second set usually consists of slower songs. There has never been a tour where A Pirate Looks At Forty hasn't been played during the second set.
The first encore usually consists of two songs. After the first song, Buffett introduces the band, and then they segue into the second song. The second encore usually consists of a single acoustic ballad. A Pirate Looks At Forty is a typical closer at shows, however, Buffett sometimes takes the opportunity to choose a more obscure song to perform such as: He Went to Paris, Changing Channels, Defying Gravity, Nautical Wheelers, Survive, Tin Cup Chalice, Twelve Volt Man, Distantly in Love etc.
Fins, mostly performed during the first encore in recent years, is always preluded by the Jaws theme as a teaser, which gets the fans pumped. Buffett calls out to the Parrotheads, or "land-sharks", to get their "fins up"! The fans raise their hands in the air, in the manner of a dorsal fin, and wave it left and right. "Changes in Latitudes, Changes in Attitudes" usually has a video of local parrotheads in the arena/venue parking lot playing over its performance. "Why Don't We Get Drunk" is sometimes performed in a different style (Tiki Time '03 Hawaiian style, Tuesdays, Thursdays, Saturdays '00 performed karaoke style, Banana Wind Tour '96 audience members selected to perform, and Jimmy Jump Up '90 performed sing-along style). "One Particular Harbour" is played for women and men wearing hula-skirts. "It's Five O'Clock Somewhere" is performed with Mac McAnally taking Alan Jackson's place.
The band will also often throw in references to and skits about the actual venue they're playing to please home town fans. As an example, when Buffett and the Coral Reefers performed at Fenway Park, Boston, in September 2004, they added a performance of Take Me Out To The Ball Game featuring Dr. Charles Steinberg on organ, segued Why Don't We Get Drunk into Red Sox favorite Sweet Caroline, and attempted to reverse the Curse of the Bambino (some even claim they were successful, as the Red Sox won their first World Series in over 80 years a few weeks later).


01 Great Heart
02 Knees Of My Heart
03 Volcano
04 Changes In Latitudes, Changes In Attitudes
05 Off To See The Lizard
06 Chanson Pour Les Petits Enfants
07 Cheeseburger In Paradise
08 Looking Back - featuring Mac
09 Come Monday
10 Who's The Blonde Stranger?
11 Holiday
12 Southern Cross
13 One Particular Harbour
Jimmy Buffet - Greensboro Coliseum 2001Intermission
14 No Woman No Cry
15 That's What Living Is To Me
16 Trying To Reason With Hurricane Season
17 Island
Mission Impossible –>
18 Why Don't We Get Drunk and Screw
19 We Are The People Our Parents Warned Us About
20 Gypsies In The Palace
21 Fins
22 Brown Eyed Girl
23 Margaritaville
Encores
24 Be Young Be foolish be Happy
25 Boat Drinks
26 Another Saturday Night
27 A Pirate Looks At Forty


SOURCEFMSOUND QUALITYAFORMATMp3BITRATE128TRACKS #27
LOCATION / VENUEGreensboroColiseumDATEFebruary 17th, 2001
NOTES:

Tequila (Instrumental) was played as first encore but Radio Margaritaville did not air it per Jimmy’s request. Instead Be Young Be foolish Be happy was played… this track is not shown on tracklist database from Jimmybuffetnews.com

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Decapitated - Live at the Frontline

Decapitated are not what you might call your average band - formed in 1996 when the average age of the band was just 14 years old, based in Krosno, Southern Poland, all attending music school yet facing ridicule with the release of their 'Cemeteral Gardens' demo in June '97 due to their young age, they succeeded in wiping the smiles from the doubters faces with a sound that, whilst showing a debt to Death Metal heroes of the past, convinced many that the band were out of the ordinary.
Following up the demo with another in October '98 titled 'The Eye of Horus', the band's abilities really began to shine, the music school committment obviously reaping benefits. Many people focused on Decapitated's age as a reason to doubt them - the fact was that the band were already becoming an established live act throughout Poland, and in working so hard on the road had earned themselves a cult reputation as genuine contenders rather than simple novelties.
The underground mumurings were not lost on the major Metal labels, and eventually Decapitated signed with Wicked World/Earache for the release of the debut album, 'Winds of Creation.' Issued in April 2000, the record immediately struck a chord with Death Metal fans everywhere, and the band began to be hailed as potential big league players. The technical tightness on display and the simple honest conviction that that band displayed were enough to convince many, and the albums standout tracks such as 'Blessed' and 'Way to Salvation' proved that despite their young age, Decapitated were ready to challenge Death Metal's big guns.
Decapitated toured the UK with grind all-stars Lock Up upon the release of 'Winds of Creation' to a phonemenal response, which eventually led to the band being voted 'Best Newcomer' in Terrorizer Magazine's 2000 Reader's Poll, and a further European tour in 2001 with Immolation continued to spread the word. Anticipation was high for a new recording......... And so at the ripe old average age of 20, Decapitated have finally delivered what they have been promising all along - a geuninely creative Death Metal album. 'Nihility' is a record that twists and turns, each track crafted and skilled into what is fast becoming a trademark Decapitated sound. Like most great albums, there is no one element that defines the whole, instead each component, from the complexity and inventiveness of the drum work to the colossal progessiveness displayed by the guitar playing contributes to the overwhelming aura around the record, the knowledge that this is something very special indeed. And so Decapitated are silencing the doubters and quietly staking their claim for prominence in what is rapidly becoming a New Wave of Death Metal. Special bands like Decapitated don't come along very often, and when they do, they tend to let the music do the talking - which is something Decapitated do in the most vicious, precise and innovative way possible.


01 - Three Dimensional Defect

02 - The Fury

03 - Lying And Weak

04 - Perfect Desumanisation

05 - Nihility

Decapitated - Live at the Frontline, Gent Belgium 200506 - The Negation

07 - Winds Of Creation

08 - Sensual Sickness

09 - Spheres Of Madness

10 - Mother War

11 - Suffer The Children


SOURCEAUDSOUND QUALITYAFORMATMp3BITRATE192TRACKS #11
LOCATION / VENUEGent, BeFrontlineDATE2005
NOTES:

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Sunday, December 21, 2008

Venetian Snares - Monumental

Breakcore's heaviest hitter Venetian Snares is always a busy man. He's made a habit of releasing multiple albums every year and still somehow manages to tour the globe constantly. Although a native Canadian, he's toured Europe extensively over the past half decade, which is why you might call his two North American tours in 2008, his first shows in the US in over four years outside of a couple one-off appearances, something or a rare treat for those in the States.


While his summer tour drew heavily from his most recent album at the time Detrimentalist, his Nov/Dec tour was slightly more varied and some would say more satisfying as he pulled tracks from his monumental Rossz Csillag Alatt Született album, as well as choice cuts from Higgins, Pink + Green, Meathole, his darkest masterpiece Doll Doll Doll, all the way back to his Shitfuckers 12" and of course his crowd-pleasing version of Skelechairs.

This is his full hour and a half performance from Friday, 12 December 2008 at the Knitting Factory in Hollywood, California.


venetian snares - knitting factory 2008


SOURCEAUDSOUND QUALITYA+FORMATMp3BITRATE128TRACKS #?
LOCATION / VENUEHollywoodKnitting FactoryDATE12–12–08
NOTES:Thank you Mr B for the great recorsing and the link

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Wednesday, December 10, 2008

Matthew Herbert's Plat Du Jour - On the menu

MHpdj2004Restless innovator, sampling wizard, classically trained pianist and superstar collaborator, MATTHEW HERBERT is one of electronic music's most versatile and prolific figureheads. Recording under his own name as well as Doctor Rockit, Wishmountain, Radio Boy and others, Herbert has also produced and remixed artists as diverse as Björk, REM, John Cale, Roisin Murphy, Yoko Ono and Serge Gainsbourg.
An alchemist of avant-garde sound in the tradition stretching from Stockhausen to the Aphex Twin, Herbert combines playful pop sensibility with a strictly imposed experimental agenda. In his increasingly conceptual and political albums he has emerged as a unique figure in modern music: a kind of one-man Radiohead, or a Brian Eno for the 21st century.
The political content of Herbert's music has become increasingly overt in recent years. His 2004 album 'Plat Du Jour' was his most rigorously experimental to date, featuring sounds entirely derived from food and its packaging. Unified in concept and content, it used witty culinary metaphors to attack not just giant food companies but also the death penalty, body fascism and war in Iraq. In Britain, 'The Guardian' called the consequent live shows, complete with a chef making live smells "a wild stimulation of senses, feet and intellect".


Line up: Matthew Herbert (sampler); Peter Wraight (sampler/midi wind); Dave O'Higgins (sampler/midi wind); Phil Parnell (sampler/midi keyboards); Leo Taylor (percussion/bottles/domestic waste); Rosie Sykes (chef/cooking noises)


Chickens (7.35)
Coffee (7.04)
Sugar (6.00)
Water (5.46)
Matthew Herbert's Plat Du Jour - London Queen Elizabeth Hall 15-11-04Apples - audience take a bite out of their apples
Diet (4.16)
Deathrow Dinner (5.03)
Bread (4.34)
Waste (5.34)
Tank (4.18)



SOURCEFMSOUND QUALITYAFORMATMp3BITRATE256TRACKS #09
LOCATION / VENUELondonQueen Elizabeth Hall DATE15-11-04
NOTES:

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Sunday, December 07, 2008

Morgan Heritage - London Jazz Cafe 2003

Reggae music has been searching a long time for a saviour. It seeks an acceptable antidote to the nihilistic braggarts offered up by dancehall, itself the enfant terrible offspring of the roots music that was once the inspirational staple of Bob Marley, Dennis Emmanuel Brown, Peter Tosh and the like.
Since Garnett Silk's death in 1994, the Tosh-influenced singer Capleton has, for most, been the torch-bearer. In the mid-Nineties he emerged from the dancehall scene with a brand of reggae as performed in its Rastafarian tradition. But there is further hope for the music, beyond the violence the media often portrays as being a necessary adjunct of the genre.
Step forward Morgan Heritage, five of the 29 children of the legendary Jamaican vocalist Denroy Morgan. Una, Peter, Roy, Nakamyah and Memmalatel gave a performance that was full of lyrical dexterity and fluency, rich with love, peace and religious intonations, once the universal themes of reggae. Jah was never far away. "Our music is a gift from God" is a favourite Heritage mantra.
This message was evident in their opening salvo, "Don't Haffi Dread", which, roughly translated, means that wearing the dreadlocks hairstyle is not a necessary add-on to being a Rastafarian. "Ready or Not" confirmed their religious leanings. With locks flowing, dressed in near-identical denim outfits, Morgan Heritage offered a sweet, meaningful collection of the kind of biblically inspired roots music that is too often lost in the maelstrom of dancehall.
"This is reggae music, people," shouted Una to the crowd. You weren't sure if he was telling them what they were listening to, or preaching to them. You couldn't blame him, either. A half-filled Jazz Café was made up of the curious, the die-hard dread and the Trustafarian. It was a motley crew for one of Jamaica's premier acts.
Undaunted, the band played on and gave far more than they received. Their energy and vocals were worth the entry fee alone, at times evoking the pleading of Toots Hibbert and the urgent emotional anxiety of Joseph Hill. And often, Una's deliciously melodic voice matched the Culture front man's for conviction and commitment.
As well as showing off their roots heritage, the family Morgan also used the evening to showcase their new album, Three in One, with the suggestive "She's Still Loving Me" followed by an impromptu heartfelt paean to the pleasures of the herb.
The expected finale, "Down by The River", from their More Teachings album, saw the group play with the audience, inviting them to join in the chorus and changing the lyrics of the song to include the words "London" and "Jazz Café". Yes, it was formulaic, but it was delivered with such gusto that you forgave them.
In all, it was a rousing performance that was sadly ruined by poor mixing. It makes you wish that sound engineers would realise that criminal volume doesn't necessarily equate to enjoyment.


Morgan Heritage - London Jazz Cafe 2003

SOURCEDABSOUND QUALITYA+FORMATMp3BITRATE256TRACKS #15
LOCATION / VENUELondonJazz cafeDATE2003
NOTES:

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