Cream - Live in Detroit 1967

Cream performed here for three nights from Friday 13th October to Sunday 15th October. It was close to the end of their first US tour, which had commenced on 20th August. This tour, while frustrating in some ways for them (especially sound systems and low pay), had established them in the U.S. and was at the core of their golden period.
Detroit would have been a good town for the three of them with plenty of black music (Jazz, Blues, R&B and Soul) to listen to after hours. And they would have had plenty of after hours as these concerts started at 6.30pm on Friday and Saturday and finished no later than 10p.m. and on Sunday 6.00pm-9.00pm (an all ages show). I believe this would have contributed greatly to the quality of their performances (plus a good sound system!).

The supporting bands on Friday and Saturday were the Rationals and MC5 (basically the house bands at this time). Sunday the support band was the Apostles. One can assume that Cream was largely an unknown quantity to Detroit’s nascent Rock audience and MC5 were already becoming a local legend. Cream had nothing to loose, especially on Sunday when they had plenty of time to really lay out. And by then the word had got around and the audience was really responding.

Setlist:

• Sunshine of your love
• Spoonful
• Lawdy mama
• Tales of brave Ulysses
• Steppin' out
• Sleepy time time                                                                         
• I'm so glad
• Sitting on top of the world
• Rollin' and tumblin'
• N.S.U.
• Sweet wine
• Traintime
• Toad                                                                 

 

Cream - Barbecue '67

Ian Sippen set up his quality equipment to record Cream. Unfortunately the left mike failed and the recording is dominated by the guitar and the drums. The loss of bass is partially compensated for by the magnificent, very present sound of the drums. Jack’s vocals are largely heard by direct acoustics rather then through the PA.
"NSU" is hesitant as they try to sort out the gear on the fly with the PA dropping out and the guitar amps being adjusted. "Sunshine" follows and is no better with: Eric starting way too fast and pulling back, Eric & Ginger struggling to hear Jack’s vocals and Ginger laying down a very basic beat – one can see him glowering at the roadies as they desperately tried to sort things out.
Eric tells the audience to quietn down before they perfoym a quite superb "We’re Going Wrong".  It really worked quite well live once they had got it sorted out. The longer gestation time definitely helped with this one.
A short "Stepping Out" is performed but with amp problems for Eric followed by "Rollin’ & Tumblin" with a just audible harp (well the drums are nice and clear!).
Obviously it is "Toad" that benefits with the very audible drums. It is comparatively short - Baker clearly didn’t want to hang about. "I’m So Glad closes the set but by this time Eric’s Marshall is really breaking up and he just manages to finish before it totally cracks up
Remastered Quality: 
This is a severely flawed audience recording (not a soundboard as claimed by the commercial bootleggers!).  It lacks bass and has just audible vocals.  Bass has been boosted to a level of prescence but hardly clear and nothing could be done about the vocals.   The good quality tape recording needed minimal filtering but some editing of extraneous mike/electrical noises.  The drums are magnificently clear (and very live sounding) as is the guitar.

SETLIST 
1. NSU (Bruce) 4:48
2. Sunshine of Your Love (Bruce/Brown/Clapton) 5:09
3. We’re Going Wrong (Bruce) 6:06
4. Stepping Out (Bracken) 5:25
5. Rollin’ & Tumblin (Morganfield) 5:01
6. Toad (Baker)  7:08
7. I’m So Glad (James) 6:03

SOURCE	AUD	SOUND QUALITY	B+	FORMAT	Mp3	BITRATE	192	TRACKS #	7
LOCATION / VENUE		Spaulding, UK		Barbecue '67		DATE		29th May 1967
NOTES:

Cream - BBC sessions 1966 - 1969

NOTE: I have not listen to it yet… Need help on tracklisting!!!

Cream - Konserthuset, Stockholm, Sweden 1967

Setlist

N.S.U.
Stepping Out
Train Time
Toad
I'm So Glad

Eric Clapton : the Blues Breaker

Eric Clapton is probably most famous for his mastery of the Stratocaster guitar. Clapton was a guitarist in quite a few bands, before he first found chart success with the Yardbirds in the mid-sixties. Their single, 'For Your Love', reached number two in the UK chart in 1964. From this point on his skill as a distinctive guitarist was revered.

He joined John Mayall's Bluebreakers briefly, and then formed Cream in 1966. The unwanted fame that Clapton found in this trio led him to produce work under different names. He and George Harrison worked together under the names Delaney and Bonnie. It was whilst he was part of Derek and the Dominos that he wrote one of his most famous tracks, 'Layla'.

He was a popular guest guitarist and worked with artists such as The Beatles, Aretha Franklin and Frank Zappa. He released his first solo album, entitled 'Eric Clapton', in 1970. This showed the strong influence of JJ Cale on his work.

Throughout the early seventies he was battling with heroin addiction, which he overcame through acupuncture and a short retirement.

His next solo album of 1974 was entitled '461 Ocean Boulevard' and again showed off his mellow guitar playing. His version of Bob Marley's 'I Shot the Sheriff' was on this album, and reached number one as a single.

He continued his solo recordings in the seventies and eighties with albums such as 'No Reason To Cry', 'Backless' and 'Behind The Sun'. Phil Collins produced his 1986 album, 'August',which was said to be his best work in years.

In the early nineties Clapton was struck by tragedy; three members of his crew were killed in a helicopter crash, and his young son died in another tragic accident within a year.

He has continued to play and record, and his 1997 album, 'Pilgrim', was critically acclaimed.

Although Clapton's musical style has varied throughout his career, it has always remained rooted in the blues. Clapton is credited as an innovator in several phases of his career, which have included blues rock (with John Mayall & the Bluesbreakers and The Yardbirds) and hard rock (with Cream). Clapton has also achieved great chart success in genres ranging from Delta blues (Me and Mr. Johnson) and bluegrass ("Lay Down Sally") to pop ("Change the World") and reggae ("I Shot the Sheriff").

Clapton is currently on his 2006-2007 world tour with good friend and longtime tourmate, Robert Cray as his supporting act.

Eric Clapton – Live in Glasgow 2006

Prince: Diamonds & Pearls

The Diamonds and Pearls album in 1991 gave Prince album charts success with the song “Cream” giving him his fifth U.S. number one single. Diamonds and Pearls also marked the debut of the New Power Generation featuring rapper Tony M, Rosie Gaines on vocals, Michael Bland on drums, Levi Seacer and Kirk Johnson on guitar, Sonny T on bass, and Tommy Barbarella on keyboards.
Having mysteriously thanked Kate Bush in the credits of his Diamonds And Pearls album, Prince worked on Bush’s 1993 album, The Red Shoes. Collaborating chiefly on the song “Why Should I Love You,” Prince added bass, guitar, keyboards, his vocals and other arrangements to the mix. This would be the final “Prince” credit, until 2000. Kate Bush reciprocated in 1996 and is featured on background vocals on the Emancipation track, “My Computer.”
Prince’s twelfth album was titled “ being unpronounceable, he was often referred to as “The artist formerly known as Prince,” or simply “The Artist.” In 1993, at the request of Warner Bros., Prince released a 3-CD greatest hits compilation entitled The Hits/The B-Sides. The first two discs were also sold separately as The Hits 1 and The Hits 2. In addition to featuring the majority of Prince's hit singles (with the exception of “Batdance,” which was omitted), The Hits includes an array of previously hard-to-find recordings, notably B-sides spanning the majority of Prince’s career, as well as a handful of previously unreleased tracks, such as the Revolution-recorded “Power Fantastic.” A new song, “Peach,” was chosen as a promotional single to accompany the album. Unfortunately, neither the album nor single performed as well on the charts as Prince and Warner Bros. would have hoped. To this day, however, The Hits remains the closest thing to a definitive overview of Prince's musical output from 1978 to 1993.

Prince – live at Earls Court, London 24th June 1992

Disc 1

1. INTRO - TAKE MY HAND, PRECIOUS LORD 2. THUNDER 3. DADDY POP 4. DIAMONDS & PEARLS 5. LET'S GO CRAZY 6. KISS 7. DEAD ON IT 8. JUGHEAD 9. PURPLE RAIN 10. LIVE 4 LOVE 11. LIVELY UP YOURSELF 12. DELIRIOUS 13. WILLING & ABLE 14. DAMN U

Disc 2

1. SEXY MF 2. ORIENTAL INTRO 3. THIEVES IN THE TEMPLE 4. IT 5. A NIGHT IN TUNISIA 6. STROLLIN' 7. INSATIABLE 8. GETT OFF 9. GETT OFF (HOUSESTYLE) - THE FLOW 10. CREAM 11. CHAIN OF FOOLS

2 CD
Label : Moonraker
Catalogue : # 098-099
Disc Length : 62:50 / 48:31
Source : Soundboard Recording
Sound Quality : EX+
Year Of Release : 1996

Prince - Nude

This is a concert from Prince from the Nude tour of 1990. Unlike the previous year's Lovesexy Tour, this one included many songs in their entireties, allowing for less songs to be played during the tour. The tour was the precursor to the Graffiti Bridge movie, and a couple of songs from the soundtrack were played on a regular basis: The Question of U and We Can Funk. In addition, Thieves in the temple was played on occasion. Since there was no tour to promote the Batman soundtrack, several songs from the Batman soundtrack were played every night: the Future, Batdance and Party Man, while Scandalous was played during the preview shows but dropped from the set after that. The tour also marked the introduction of the New Power Generation and the Game Boyz.

Here is the typical tracklist for a Nude Tour show:
DAT Intro, The Future/Rock to the Flow (Rock 2 the Flow was added to the normal setlist in August, as an additional rap by Tony M.), 1999, Housequake/Sexy Dancer, Kiss/In the Mood, Purple Rain, Take Me With U, Alphabet St./It Takes 2/The Latest Fashion rap, The Question of U/Electric Man, Do Me Baby, DMSR, Controversy, Ain't No Way, Nothing Compares 2 U, Bat Dance, Party Man, Baby I'm a Star/We Can Funk

In addition, many other songs were played on occasion, including When Doves Cry, Bambi, Don't Make Me Pay 4 Your Mistakes, Down Home Blues, Joni Mitchell covers Blue Motel and A Song 4 U, Jerk Out, Rescue Me, Respect, Irresistable Bitch, What Have U Done 4 Me Lately, The Humpty Dance, among others. A couple of times, he rapped verses from Ice Cream Castles and I Wanna Melt with U, along with Horny Pony during some of his ad libs.

Track Listing
The Future, 1999, Housequake, Sexy Dancer, Kiss, I'm In The Mood, Blues, Purple Rain, Raspberry Beret, Take Me With U, Alphabet Street, It Takes Two, Do Me Baby, The Question Of U, Nothing Compares 2 U, Little Red Corvette, Baby I'm A Star/Respect

Cannonball Adderley Sextet - All About Jazz

Take some well-rounded-body and soul-jazz personalities like Fats Wailer, Jimmy Rushing, Ella Fitzgerald and Oscar Peterson. Extremely well-rounded too, when it comes to generating full-bodied excitement with very demanding and exacting musical means. Would you include Julian 'Cannonball' Adderley in that particular jazz category? I, of course, would. Come to think of it, it should be a category included in all jazz polls.
Looking for hidden treasures? The Swiss banks vaults conceal some mighty ones, but, alas, they are unavailable for most of us. Whereas hidden treasures in Swiss radio vaults are becoming available. Like this groovy tape found at the Italian speaking Swiss radio in Lugano: Cannonball's sextet from the early sixties (1963). A funky and churchy and soulful tape, too. Dig six very swinging cats cookin' it up and around and about. Let's forget all the jazz jive from way back and concentrate on the music. Live jazz on record is the best substitute for live music.
The tunes: "Trouble In Mind" is a classic from the 20's, the others have become classics by 1995. Three very classy bop themes, like Oscar Pettiford's "Bohemia After Dark", Quincy Jones' "Jessica's Day" or Ernie Wilkins' "Dizzy's Business" (remember Dizzy Gillespie's big band versions of these two from the middle fifties? "Jessica" is taken here at a much faster tempo), all up tempo numbers meant to enliven any proceedings. Two compositions taken at less crazy tempos: a hard bop one, Sam Jones' "Unit 7" and Richard M. Jones' poignant old blues theme "Trouble In Mind" a show case for Yusef Lateef's oboe and the rhythm section. Oboes, by the way, are still (1995) not much heard in jazz circles, yet Lateef demonstrates here beyond doubt (1963) not only they should be warmly welcomed, but that they wail I Rhythm sections like Joe Zawinul on piano (plain old piano, no electronics), Sam Jones on bass and Louis Hayes on drums, are also hard to find, anytime. But there's still more pleasure to be had from this concert: two Nat Adderley down-home tunes, "Work Song" and "Jive Samba" (the bass line in this one shows a trait common to Brazilian and Afro-North-American music - the basic baijo figure which sounds almost exactly like a widely used rhythmic figure in blues and rhythm & blues). Both compositions have become classics too: Nat Adderley is may be not as consistent a composer as Horace Silver but you can bet Mr. Silver would willingly sign those two. Funky, bluesy, churchy, swinging, wailing, driving music...
Julian Adderley and the music in this record somehow embody all those virtues - and a lot more. From today's point of view, you feel like comparing Cannonball to Wynton Marsalis. No, no polemics. You can instantly tell what separates them: as far as I know, Cannonball only preached through his horn. But there are several common features. Cannonball carries in his approach the entire jazz tradition as much as Marsalis does-or pretends to, if you don't 'believe' in Marsalis. It has been said that Cannonball, his great originality notwithstanding, could at times sound like any number of saxophone players from every jazz era. At the same time, he proved he could play any kind of music: advanced music with Miles Davis, John Coltrane and Bill Evans, Latin jazz with the best Latin musicians, bossa nova with the cream of the Brazilians; and Third Stream Music, too. Besides, he came into prominence during the hard bop days from the late 50's and 60's, when jazz was going through yet another revival period, one that is not regarded as such because it generated a lot of powerful music.
Much of it sounded newer than it actually was: marrying simplified bebop and folk and pop black tradition was a strong mixture, almost as strong as the one that, in its day, resulted in what we call jazz. But not quite; it did not turn out able to do what it was aiming for: reconcile the masses - and particularly the black public - with jazz. To this day, jazz is still trying to recover from the loss of its mass audience back in the late forties. The Adderley brothers' success during the sixties is in itself a remarkable achievement and a reminder that you can attain popularity within the jazz ambit (whatever that may mean).

The happenings in this Lugano concert are outstanding: Cannonball's alto sax, itself an invitation to jazz wonderland and Nat Adderley's cornet, with its persistent warmth and ebullience. Yusef Lateef's tenorsax, flute and oboe: he's one of those musicians who have captured the sound of jazz, a considerable achievement - furthermore, no matter how you look at Lateef's work, you have the feeling that he has never been awarded the recognition he deserves. Joe Zawinul's piano of the time sounds like a cross section of many bop and hard bop pianists and, at one and the same time, he's so convincing, solid and always willing that you can't escape the feeling there must be a lot of Zawinuls that never got a chance to develop! Sam Jones' bass swings so hard you could certainly listen to him just keep time and be happy. Last but not least, Louis Hayes' drumming is meant to keep everybody busy at giving the best of themselves. This is a recording you'll enjoy time and again. Both because it's live and so very much alive.

01 - Jessica's Birthday 8:19 Quincy Jones02 - Jive Samba 10:3 Nat Adderley 03 - Bohemia After Dark 7:35 Oscar Pettitord 04 - Dizzy's Business 7:04 Ernie Wilkins 05 - Trouble in Mind 12:43 Richard Jones 06 - Work Song 7:57 Nat Adderley 07 - Unit Seven 5:23 Sam Jones

JULIAN CANNONBALL ADDERLEY alto saxNAT ADDERLEY cornetYUSEF LATEEF tenor sax & flute & oboeJOE ZAWINUL pianoSAM JONES bassLOUIS HAYES drums

Procol Harum - WPLJ Live

WPLJ became in late 1970, a '100% live free form' rock format station.
By September 1971 they had developed into the very first AOR (adult orientated rock) station in the USA.The station would play the music of artists such as Led Zeppelin, The Beatles, Aerosmith, Jimi Hendrix, Cream, The Doobie Brothers, Steely Dan, Deep Purple, Rod Stewart, and The Allman Brothers. The station would also play more 'popular' songs from artists such as James Taylor, Stevie Wonder, Elton John and Carly Simon. All in all, and compared to the 'AOR format' in later years, at least the music was new or relatively new back then, and throughout the 1970's WPLJ was one of the most successful stations on the planet!
Procol Harum sat comfortably in WPLJ's 'free form' rock format, back in April 1971. Having moved on from the psychedelic pop music phase that was 1967's 'A Whiter Shade of Pale', Procol Harum were a well respected band, whose quite unique sound, made them difficult to pigeon hole into a specific genre.
'A Salty Dog' remains a personal favorite of mine, both the album and the single release.
Procol Harum produced a unique sound that emphasized Gary Brooker's melancholy vocal style and an evocative mix of his eclectic piano, Matthew Fisher's elegant church-like organ, B.J Wilson's dramatic drumming and Robin Trower's searing guitar, with frequent black humour and a penchant for experimentation. Musically from the late sixties until 1971, Procol Harum was split between Robin Trower's guitar driven blues rock style and Gary Brooker's and Matthew Fisher's structured classical rock sound.
The group often combined the two into a dynamic fusion, but by mid 1971 the isparities in style became too great; the end of an era was marked for Procol Harum, with the release of their fifth album Broken Barricades, and subsequent departure of Robin Trower to form his own power trio band.
All of which helps understand why this particular bootleg is often known as 'Robin's Last Stand'. Recorded live with an audience by WPLJ this is Procol Harum at WPLJ Radio Studios, New York, NY, on April 12th 1971. The show was broadcast on FM stereo.

Line up was :
Gary Brooker : piano, vocals – Keith Reid : words (organ) – BJ Wilson : drums – Chris Copping : bass, organ – Robin Trower : guitar, bass

01. Memorial Drive
02. Still There'll be more
03. Nothing that I didn't know
04. Simple Sister
05. Luskus Delph
06. Shine On Brightly
07. Whaling Stories
08. Broken Barricades
09. Juicy John Pink
10. A Salty Dog
11. Whisky Train
12. Power Failure 

SOURCE	FM	SOUND QUALITY	A	FORMAT	Mp3	BITRATE	?	TRACKS #	12
LOCATION / VENUE		New York				DATE		12–04–1971
NOTES:

Van Halen - Caracas FM

Romeo Delight
Unchained
Drum Solo
The Full Bug
Runnin' With The Devil
Jamie's Cryin'
Little Guitars
Where Have All The Good Times Gone!
Bass Solo
Beer Drinkers And Hell Raisers
Little Dreamer
Mean Street
Secrets
Everybody Wants Some!!
Dance The Night Away
Somebody Get Me A Doctor
Jam
I'm So Glad Somebody Get Me A Doctor
Ice Cream Man Intruder
Pretty Woman
Guitar Solo
79th and Sunset
Ain't Talkin' 'Bout Love
Bottoms Up!
You Really Got Me

SOURCE	FM	SOUND QUALITY	A	FORMAT	Mp3	BITRATE	?	TRACKS #	26
LOCATION / VENUE		Caracas				DATE		1983
NOTES:

Taste - The Irish Werewolf

In the British blues boom of the mid-'60s, fronting a band was considered career suicide. But it was hip and cool just like today. The difference is, today you know if you make it, you can live comfortably. Back then, the road map had yet to be drawn. Those who formed bands were like explorers of the unknown.
The power trio was a construct invented by Cream and The Jimi Hendrix Experience. All others, including Taste, were imitators. Gallagher's Taste had him as a virtuoso performer on the guitar, mouth harp and occasionally on horns. You can hear Gallagher play all his tricks at this show which was the band's final European tour. All their concert favourites are here - Morning Sun, Sugar Mama, I Feel So Good, Catfish and Same Old Story. Taste were more blues than rock and Gallagher was sometimes spell-blinding with his technique. Check out the final track, Pontiac Blues, a mesmerizing finish to a guitar-dominated show. Taste were never about songs.
By the end of 1970, Taste disbanded with McCracken and Wilson forming Stud while Gallagher moved on to a solo career.
Judge for yourself if this young Irish guitar slinger got Albert King's and Buddy Guy's blues moves right. Gallagher had a long solo career till he passed away in 1995

01 Morning Sun
02 Sugar Mama
03 I'll Remember
04 Walkin' Blues
05 Eat My Words
06 Railway And Gun
07 I Feel So Good pt.1 > Drums Solo (cut)
01 Drums Solo (fades in) - I Feel So Good pt.2
02 What's Going On
03 Catfish > I Just Want To Make Love To You > Catfish
Encore
04 Same Old Story
05 Pontiac Blues (Same Old Story) [cut at the end]

SOURCE	SDB	SOUND QUALITY	A	FORMAT	Mp3	BITRATE	192	TRACKS #	12
LOCATION / VENUE		Basel		Stadthalle		DATE		February 1, 1970
NOTES:

The Coral - the Coliseum tape

The Coral are able to do pretty much whatever they fancy these days: they are unlikely, 10 years into their career, to lose their modest but devoted following, so it is easy for them to indulge whims. Hence their decision to promote next month's best-of album with a one-off acoustic show at the home of the English National Opera.
The Coliseum's grandeur turned out to be a surprisingly apt setting for a night of psychedelia, pop and folk. The most musical of guitar groups, the Coral were undaunted by their surroundings. Once settled into their chairs (this had to be the only show they have done seated), they got stuck into the first of 21 songs. Floating in a bubble of elegantly twangy guitar and full-cream harmonies that apparently come naturally to Liverpool groups, they hardly acknowledged the audience. "This is a new one," was the most we got from singer James Skelly, which was a bit unfair given the crowd's unwavering appreciation of every song.
What was most striking was that each tune - whether the acid-fried Don't Think You're the First, a faithful cover of the Everlys' Bye Bye Love or the early track, Goodbye, starring guest Ian Broudie on guitar - sounded like a lost Merseybeat nugget. The Coral nailed precisely the mixture of innocence, euphoria and melancholy of the early 1960s, sounding as if they had somehow lived through it. There was no shock of the new in any way, but this was a satisfyingly vintage night at the opera.

- Spanish Main / ?
-  ?
- Simon Diamond
- Shadows Fall
- Goodbye
- Pass it on
- ?
- ?
- In the Morning
- ?
- Fireflies
- Being Somebody Else
- Don't Think You're the First
- Put the Sun Back
- ?
- Everybody's talking - Harry Nilsson cover -
- Dreamin of you
- ?
- Bye Bye Love - The Everly Brothers Cover -

SOURCE	DAT	SOUND QUALITY	A+	FORMAT	Mp3	BITRATE	256	TRACKS #	20
LOCATION / VENUE		London		Coliseum		DATE		29–07–08
NOTES:

Prince - Funk U Up

Red Phantom
Catalog # 2080/2081
2CD Length 120:00?
Date/Venue 3 April 1992 Tokyo Dome
Source Audience
Quality VG-
 

Track Listing
Precious Lord, Thunder, Daddy Pop, Diamonds And Pearls, Let's Go Crazy, Kiss, Dead On It, Jughead, Purple Rain, Live 4 Love, Lively Up Yourself, Willing And Able, Nothing Compares 2 U, Sexy MF, Thieves In The Temple, It, A Night In Tunisia, Strollin', Insatiable, Gett Off, The Flow, Cream, Chain Of Fools, 1999, Baby I'm A Star, Push, A Love Bizarre

Comments 
This is the first release from the Diamonds & Pearls tour. The sound quality is rather poor and much better releases came later. The show itself is good and as a document of the early D&P tour it is worth a listen.

 

              

 

 

 

 

David Lee Roth - St Paul's Beautiful Girls

Setlist
Hot For Teacher
Panama
Little Guitars
Dance The Night Away
Mean Street
Runnin' With The Devil
Coniption (Guitar Solo)
You Really Got Me
So This Is Love?
Beautiful Girls
(Oh) Pretty Woman
Little Dreamer
Atomic Punk
Ice Cream Man
Everybody Wants Some
Yankee Rose
Tobacco Road
Ain't Talkin' 'Bout Love
Jump

Vocals: David Lee Roth
Guitar: Bart Walsh
Bass: James Lomenzo
Drums: Ray Luzier 

SOURCE	AUD	SOUND QUALITY	A	FORMAT	Mp3	BITRATE	128	TRACKS #	18
LOCATION / VENUE		St. Paul, MN		Minnesota State Fairgrounds		DATE		Aug 25 2001
NOTES:		Good bootleg featuring  Bart Walsh on guitar – guitar solo missing on this recording

David Lee Roth - Hot in Fresno

Shy Boy
Tobacco Road
Unchained
Panama
Drum solo
Pretty Woman
Elephant Gun
Everybody Wants Some?
Vai solo
On Fire
Bump & Grind
Ice Cream Man
Big Trouble
Yankee Rose
Vai solo
Ain't Talkin' 'bout Love
Goin' Crazy

SOURCE	AUD	SOUND QUALITY	A	FORMAT	Mp3	BITRATE	128	TRACKS #	17
LOCATION / VENUE		Fresno		Selland Arena		DATE		14/12/86

Foo Fighters - Live at Edgefest 1998

Concert Review by a Edgefest concert goer:

So I was at the Calgary Stampede, er, I mean, Edgefest (although, the Stampede was going on at the same time... coincidence?), in the middle of a herd, I mean, crowd, making my way to the rodeo grounds, ah, make that the concert grounds...

…I was beginning to fall into a soggy coma by the time the Foo Fighters hit the stage, but, goddamn, Dave Grohl's belching sure woke me up. All hair and snarling teeth, Grohl lead his band into an awesome, high-octane kind of set. Right about then, the crowd really began to go insane -- there were random articles of clothing flying everywhere over the moshing crowd. A pair of jeans here, a combat boot there. The band played songs off both their albums (goddamn that "Everlong" song is beautiful) before tossing free fudgesicles at the crowd (how'd that ice-cream vendor end up on stage?) and setting a small fire on stage to finish off their set.

Live at Edgefest 1998 VIDEO

Van Halen - Atomic Punks

The band was formed in 1974 and was originally called Mammoth. However, when they discovered that another local band was already using the name Mammoth, they decided on a new name. It was actually Roth who suggested Van Halen as the new name for the group. The Van Halen brothers initially didn't like the idea, but eventually warmed up to it. Roth stated in his autobiography, "I felt that the name Van Halen was like the name Santana, it had power to it.
With Ted Templeman at the helm, the band moved into the studio and quickly recorded their first album. Simply titled Van Halen, the album was released to immediate commercial success, reaching #19 on the Billboard pop music charts. All of the tracks were laid down very quickly (about three weeks), with little over-dubbing or double tracking. Minor mistakes were left on the record and a very simple musical set-up was used to give the record an almost-live feel. After adding vocals, the album was essentially ready to be mixed. Despite the simple studio set-up, Van Halen featured innovations in musical technique, production, and arrangement.

The first album, one of rock's most commercially successful debuts[8], is widely regarded as one of the most influential rock albums ever produced[9]. While it included original songs by the band, such as "Ain't Talkin' 'Bout Love," "Eruption," and "Runnin' With The Devil," the album also featured covers of the Kinks' song "You Really Got Me" and John Brim's "Ice Cream Man." The band toured for nearly a year on the basis of Van Halen, establishing their reputation as a talented and exciting live band. The early chemistry of the band was based upon the interplay of Eddie Van Halen's technical wizardry and David Lee Roth's flamboyant antics (a contrast that would later erupt into full-blown conflict). They returned to the studio in 1979 for Van Halen II, similar in style to their debut. This album yielded the band's first hit single, the poppy "Dance The Night Away."

Over the next four years, the band alternated album releases and touring to increasing commercial and critical acclaim. By 1980, Van Halen was perhaps the world's most successful and influential hard rock band (a legacy the band sustained throughout their career; in 2000, VH1 cited Van Halen as #7 on their list, "100 Greatest Artists of Hard Rock"). Their party-loving spirit and hard rocking anthem-like sound made them extremely popular with teenagers and the worst nightmare for parents. Their third album Women and Children First was released in 1980, further cementing Van Halen's status as an elite rock group with such loud and popular songs as "And The Cradle Will Rock" and "Everybody Wants Some!!". In 1981, during the recording of their fourth album, Fair Warning, tensions began to rise within the band. Eddie Van Halen's desire to experiment with more serious songs and complex structures was at odds with Roth's pop instincts and increasingly cartoonish, irony-laden persona. Although Roth (and producer Templeman) acquiesced to Eddie's wishes, Fair Warning was a relative sales disappointment, yielding no hit singles. The following album, Diver Down, featured a hit cover of Roy Orbison's classic rock and roll song "Oh, Pretty Woman". After a successful tour to support Diver Down, Van Halen became the highest paid music group for a single appearance, earning a spot in the Guinness Book of World Records for their inebriated, $1 million, 90-minute set at the US Festival in 1983. (This record was eventually eclipsed in the 1990s.)

Cover art for the hit single "Panama" (1984)Van Halen's next album, 1984 (released on January 9, 1984) was their commercial, and many claim, artistic pinnacle. Recorded at Eddie Van Halen's newly built 5150 Studios, the album was also a breaking point for the original line-up. Keyboards, previously heard only rarely, were now fully integrated into the band's sound. The album's lead single, "Jump", featured a bouncy synthesizer hook and anthemic lyrics by Roth. "Jump" became the band's first and only #1 pop hit and resulted in the band's first Grammy nomination. The other huge hits off the album were "Panama," "I'll Wait," and "Hot For Teacher." Many of the songs also became major music videos on MTV, especially "Hot For Teacher," which featured a skimpily dressed model playing the part of elementary-school teacher and also school-age boys portraying younger versions of the band members. The video appealed to numerous teenage and college-aged males. The album 1984 was praised by critics and fans alike, peaking at #2 on the Billboard charts behind Thriller by Michael Jackson (Eddie Van Halen played the guitar solo on the hit song "Beat It," on that album). In the midst of their greatest commercial success and tour, the artistic and personal tensions between the musicians reached a breaking point. Roth was upset about Eddie Van Halen playing with artists and bands outside of the band, and Eddie was upset at Roth for his continuous flamboyant behavior and cartoonish stage persona. Roth exited the band on April 1, 1985.

Van Halen – Live in Indianapolis 1984

Relative complete Bootlegraphy can be found here