Wednesday, October 10, 2018

Bob Dylan 1990-08-28 Star Theatre Merrillville, IN

Bob Dylan
Star Theatre
Merrillville, IN
1990-08-28
CD 1

01 // Introduction - To Be Alone with You
02 Positively 4th Street
03 All along the Watchtower
04 Silvio
05 Tears of Rage
06 Gotta Serve Somebody
07 Song to Woody
08 It's All over Now, Baby Blue
09 Mr. Tambourine Man
10 The Lonesome Death of Hattie Carroll
48:35

CD 2

11 Rainy Day Women #12 & 35
12 I've Been All Around This World
13 It Takes a Lot to Laugh, It Takes a Train to Cry
14 Stand by Me
15 I Shall Be Released
16 Like a Rolling Stone - audience

   (encore)
17 Barbara Allen
18 Highway 61 Revisited - audience
32:58

2 CDs 81:33

-----------------------------------------------------------------------------------------
taper: Legendary Taper F
lineage:
Sennheiser MKE-2002 Binaural Microphones >
Sony Walkman Professional Stereo Cassette-Corder WM-D6 >
Cassette master >
Maxell XL II-S 100 Position IEC Type II High (CrO2) Cassette (LTA) >
Nakamichi DRAGON Auto Reverse Cassette Deck (NAAC on) >
Oehlbach Kabel GmbH I-Connect J-35/R 150 1,5m Cable >
TASCAM DR-05 Linear PCM Recorder >
SanDisk 16GB microSD Memory Card >
SanDisk microSD Adapter >
Terminus Technology Inc. USB 2.0 Hub >
iMac 2.9 GHz Intel Core i5 / macOS High Sierra 10.13.5 (17F77) >
WAV 16/48 >
HairerSoft Amadeus 2.4.7 (2023) (levels,tracking) >
xACT 2.45 (7919) >
FLAC16/48 0.6566 (18 files), tags, ffp, md5
same recording as LB-00528/LB-07114
***First Transfer 22 June 2018 by LTA***
-----------------------------------------------------------------------------------------



Link


Bob Dylan 1989-11-14 Tampa Bay Performing Arts Center Tampa, FL

Bob Dylan and his band

1989-11-14 Tampa, FL (Festival Hall, Tampa Bay Performing Arts Center)

From my cassette (received in trade, 1995 -- zero lineage info, but no hiss to speak of).  A different recording from LB-2173/LB-5436, based on the shrill foreground whistle during the opening notes of track 02 on this one, which is not present on LB-5436.  This is also just in the B range, but it is fuller with more low end (maybe too much?).

FIRST SHARED: 2018-07-27

WHAT I DID: Cassette > WAV > Sound Forge (split into tracks) > FLAC > MP3tag (tagging)

All thanks to the original taper, and to the person who sent me the cassette.

01 Stuck Inside Of Mobile With The Memphis Blues Again
02 I Want You -> Ballad Of A Thin Man
03 Man Of Peace
04 Simple Twist Of Fate
05 I Believe In You
06 Rainy Day Women #12 & 35
07 It's All Over Now, Baby Blue
08 It Ain't Me, Babe
09 Mr. Tambourine Man
10 Everything Is Broken
11 What Good Am I?
12 Most Of The Time
13 It Takes A Lot To Laugh, It Takes A Train To Cry
14 Like A Rolling Stone
15 Knockin' On Heaven's Door
16 Maggie's Farm


Link



Tuesday, September 4, 2018

The Cure 1984-05-21 Teatro Tenda Lampugnano Milan, Italy


The Cure
Teatro Tenda Lampugnano
Milano 21/05/1984

Type: Audience

Source: Master>Nero Wave Editor>Wave>Restored With Magix 2007>Flac8>You
Speed Tape Corrected
Normalized File Audio

CD 1:

01  Shake Dog Shake+
02  Play For Today+
03  Wailing Wall+
04  M+
05  Primary+
06  Dressing Up+
07  Charlotte Sometimes+
08  The Empty World+
09  The Hanging Garden+
10  Piggy In The Mirror+
11  The Walk+
12  Bananafishbones+

CD 2:

01  One Hundred Years+
02  Give Me It°
03  A Forest+
04  The Top+
05  Happy The Man°
06  The Caterpillar+
07  Bird Mad Girl+
08  10:15 Saturday Night+
09  Three Immaginary Boys+
10  Killing An Arab+
11  Forever+

 +  Master Recorded With Aiwa Walkman Stereo
 °  Master Recorded With Philips Stereo Portable
    Maxell Ul Are The Cassette Used

 

Music Is The Best!!!!

Link

Stevie Ray Vaughan 1983-09-09 Paradiso Amsterdam, Netherlands

Stevie Ray Vaughan & Double Trouble
September 9, 1983
Paradiso
Amsterdam, Netherlands

Source: SBD Cass > Copy 1st Gen > CDWav > CDR(x) > eac > wav > shn > Flac

Disc 1:
01. Intro
02. Testify
03. So Excited
04. Voodoo Chile
05. Tell Me
06. Mary Had a Little Lamb (Right Channel drop at 1:26)
07. Texas Flood
08. Love Struck Baby
09. You'll Be Mine

Disc 2:
01. Pride & Joy
02. Little Wing
03. 3rd Stone From the Sun
(Encore)
04. Lenny
05. Rude Mood
06. Testify

Note: Last day of first European Tour

Link



Yes 2014-05-17 Gran Teatro Geox Padua, Italy

Yes - The Snow Goose
Gran Teatro Geox
Padua, Italy
17 May 2014


Three Album Tour performance.
The Geox Theatre in Padua is renowned for its good sound quality, especially if you are in the first sector/first rows.
The performance was quite good, apart from the slowed version of some songs. The new singer sang fairly well, though his voice was slurred and passed by the sounds of the guitars and of the bass. Effect probably wanted just to to hide some errors both of the singer, and keyboardist...
Anyway it was great to see the YEs again, together with my great friend mr_plod.

-------------------------------------
Please DO NOT share this music on mp3, just convert it for your own use. PLEASE DO RESPECT THIS WISH and enjoy the music in lossless form.
This Is Intended For Free Trade Only, and just for fun!
Do Not Buy Or Sell !
Support The Band Buying Their Stuff !
Visit & Enjoy Forthcoming Shows !
-------------------------------------


THIS IS MY OWN RECORDING:
Original/audience source
Type: Audience 44.1 kHz stereo master/16 bit,
Position/seat: central sector, about 10 mt. in front of the stage, row: 8, suspended PA stack.
Lineage: Sony ECM-717 > Zoom H2 > SD > HD > Nero Wave Editor 4 > TLH > FLAC (level 8) > Dime
Taper: Commissario Rex series #248
Pictures & artwork by mr_plod



First half : Close to the Edge / Going For The One

101 audience/intro 2:53
102 The Firebird Suite (Igor Stravinsky) 3:10
103 Close to the Edge 19:18
104 And You and I 11:40
105 Siberian Khatru 10:08
106 Announcement: Going For The One 1:05
107 Going for the One 5:57
108 Turn of the Century 8:44
109 Parallels 6:20
110 Wonderous Stories 4:39
111 Awaken 17:42


Second half : The Yes Album

201 Intermission: Back in 20 minutes 5:01
202 Announcement: The Yes Album 1:18
203 Yours Is No Disgrace 10:27
204 The Clap 3:43
205 Starship Trooper 10:56
206 I’ve Seen All Good People 7:30
207 A Venture 5:01
208 Perpetual Change 11:36
209 Band introduction 0:45

Encore call :

210 Roundabout 9:34
211 outro 2:06

The Band:
Steve Howe - Guitars/Vocals/Acoustic Guitar/slide guitar
Chris Squire - Bass Guitar/Guitars/Vocals
Alan White - Drums
Jon Davison - Vocals/Guitar/Percussion
Geoff Downes - Keyboards/Vocals 

Link


YES featuring Anderson Rabin Wakeman 2018-09-03 Leavitt Pavilion Denver, CO

YES featuring Anderson Rabin Wakeman
Leavitt Pavilion
Denver, Colorado, USA
September 3, 2018

Jon Anderson
Trevor Rabin
Rick Wakeman
Lee Pomeroy
Lou Molino

Tracklist (2:07:32):
00 intro
01 Cinema
02 Hold On
03 I’ve Seen All Good People
04 Changes
05 And You and I
06 Rhythm of Love
07 Perpetual Change
08 Lift Me Up
09 I Am Waiting
10 Heart of the Sunrise
11 Awaken
12 Owner of a Lonely Heart
13 Roundabout

Lineage: Sony ECM-717 (mic) / Sony PCM-M10 (recorder) > 24/96 > 16/44 (down sampling, cuts & fades and normalization + limiter on some loud claps and nearby yelling using Audacity) > CD wav (track splitting) > MP3Tag (for file tagging) > FLAC (using Traders Little Helper) Level 8

Notes: This was the first time my wife and I have seen a show at this venue - so, like the old folks we've become, we drove out to it the day before to make sure we knew how to get in and out. The Leavitt Pavilion is (to me) like a smaller scale version of Fiddlers Green Amphitheater - it's a large grassy area behind a limited number of seats with a small (but serviceable) stage. We were seated in Row G in the center - nice view and very nice sound.

We really enjoyed the performance - love to hear the YesWest material. Wish they would switch it out a little - we've seen this show three years running now,
and the only thing "new" about this year's set was the "Sunshine Of My Love" medley affixed onto the end of "Owner". And even that's a throwback to the 1994 Talk tour. But, having not heard Rabin in the band for over 20 years until his return in 2016, I'm willing to cut them a little slack.

This was the 6th of 7 planned concerts this year. 19 photos that I took from my seat during the show are included; they ain't art, but, they give you an idea of where I was seated.

Finally: please don't sell the recording, but, otherwise, do with it what you wish. Share it and trade it, and remember: these and other greats
will not be around forever, so, let's enjoy them while we have them. Best wishes to all of the Yes fans out there and Namaste.

Link

Bob Dylan 1989-09-10 Greek Theater Los Angeles, CA

Bob Dylan and his band

1989-09-10 Los Angeles (The Greek Theater)

From my cassette (received in trade, 1994 -- zero lineage info, but no hiss to speak of).  A different recording from LB-535/LB-9354, based on the little foreground whoop on the very last note of track 01 on this one, which is not present on LB-9354.  This is also just in the B range for sure, but I find it to be a little more upfront.

FIRST SHARED: 2018-07-27

WHAT I DID: Cassette > WAV > Sound Forge (split into tracks) > FLAC > MP3tag (tagging)

All thanks to the original taper, and to the person who sent me the cassette.

01 Most Likely You Go Your Way (And I'll Go Mine)
02 Gotta Serve Somebody
03 Positively 4th Street
04 I Want You
05 Stuck Inside Of Mobile With The Memphis Blues Again
06 Simple Twist Of Fate
07 Blowin' In The Wind
08 To Ramona (endcut)
09 Mr. Tambourine Man (cutstart)
10 Don't Think Twice, It's All Right
11 Knockin' On Heaven's Door
12. One Irish Rover
13 It Takes A Lot To Laugh, It Takes A Train To Cry
14 In The Garden
15 Like A Rolling Stone
16 It's All Over Now, Baby Blue
17 All Along The Watchtower



01 Most Likely You Go Your Way (And I'll Go Mine).flac:78c90c31148f92db2d27ebebdbe718dd
02 Gotta Serve Somebody.flac:f26cd65652da799c2f523da7f31df5a3
03 Positively 4th Street.flac:3f096e00e72b313ff1b15c194d116fdc
04 I Want You.flac:2da068f8432b3152c0539280613e0716
05 Stuck Inside Of Mobile With The Memphis Blues Again.flac:8d47f6be297e3db6ded149c0131b77d2
06 Simple Twist Of Fate.flac:bacbb877f382301e3ffd11d4c40f7def
07 Blowin' In The Wind.flac:91f39ccf8d5455bcebc67d9cd8ff401d
08 To Ramona (endcut).flac:0e6eee457fb36769a27b0de4a0d35d43
09 Mr. Tambourine Man (cutstart).flac:4d344d0f229a738d2db961d2b453ca23
10 Don't Think Twice, It's All Right.flac:c1e51fea66551b9ee6a1d5c5148a1be7
11 Knockin' On Heaven's Door.flac:f067091205c0614c4f28587e15a47345
12 One Irish Rover.flac:370d23b0f1e49684d44633d0d3142311
13 It Takes A Lot To Laugh, It Takes A Train To Cry.flac:0428bc147ece9e1eecedbb137a9f606e
14 In The Garden.flac:26b89f56ed2ff2cd97606e9f7a078271
15 Like A Rolling Stone.flac:a83301f0eff3ae58b2021d3027450aaf
16 It's All Over Now, Baby Blue.flac:9611551d67b6fc01426c50e040893cf4
17 All Along The Watchtower.flac:fda4e1b74f1dd470e706b99d14d3c47a

No errors occured.

******

Link

Bob Dylan 1988-08-20 Champs de Brionne Music Theater George, WA


 Bob Dylan
"Bob Dylan Special Guests The Alarm"
Champs de Brionne Music Theater
George, WA
1988-08-20
CD 1

01 audience - Subterranean Homesick Blues
02 Absolutely Sweet Marie
03 All along the Watchtower
04 You're a Big Girl Now
05 Highway 61 Revisited
06 Masters of War
07 Don't Think Twice, It's All Right
08 Oh! Susanna > Mr. Tambourine Man
09 Trail of the Buffalo
10 It Ain't Me, Babe
56:11

CD 2

11 I Shall Be Released
12 Silvio
13 Like a Rolling Stone - audience

   (encore)
14 Blowin' in the Wind
15 Maggie's Farm - audience
30:36

2 CDs 86:47

-------------------------------------------------------------------------------------------------------------
Bob Dylan, Champs de Brionne Music Theater, George, WA 1988-08-20

taper: wayneG
lineage:
Sony ECM-929LT Electret Condenser Microphone >
Sony WM-D6 Walkman Professional >
cassette (master) >
Maxell XL II-S 100 Position IEC Type II High (CrO2) Cassette (LTA) >
Nakamichi DRAGON Auto Reverse Cassette Deck (NAAC on, Dolby on) >
Oehlbach Kabel GmbH I-Connect J-35/R 150 1,5m Cable >
TASCAM DR-05 Linear PCM Recorder >
SanDisk 16GB microSD Memory Card >
SanDisk microSD Adapter >
Broadcom Ltd Built in Card Reader (2.5 GT/s) >
iMac 2.9 GHz Intel Core i5 / macOS High Sierra 10.13.5 (17F77) >
WAV 16/48 >
HairerSoft Amadeus 2.4.7 (2023) (levels) / Ozone 4 (declick, dethump) >
Audio Unit Ozone 8 Maximizer (Warm Master Mode IRC III Crisp) >
HairerSoft Amadeus 2.4.7 (2023) (tracking) >
xACT 2.45 (7919) >
FLAC16/48 0.6364 (15 files), tags, ffp, md5
***First Transfer 05-July-2018 by LTA***
fingerprints:
t03 [male] 'hey Rogers! It's over here! Kids are over here!' at 4:22
t05 [male] 'better than I thought it would be' at 4:56
t09 [male] 'Watchtower! Watchtower! Watchtower! Watchtower! Watchtower! Watchtower!'
t13 [male] Stay with me!  Uh? I got it. What's the matter? Stay with me now. You won't lose me. I will hold your hand, you won't lose me. Uh? That's how Dylan should be. at 7:17
same recording as LB-00708/LB-08034
-------------------------------------------------------------------------------------------------------------


Link

Friday, August 31, 2018

Bob Dylan 2018-08-20 WIN Entertainment Cenre Wollongong Australia

Bob Dylan
WIN Entertainment Cenre
Wollongong
Australia

Monday 20th August 2018

Recorded by SFY
Source: Roland CS-10EM Binaural Microphones > Zoom H2
Lineage: SD card > PC > GoldWave > FLAC
Location: Row B4 Seat 7

SHARE FREELY
SUPPORT THE ARTISTS: BUY THEIR OFFICIAL RELEASES & VISIT THEIR SHOWS!
ENJOY!

01. Intro
02. Things Have Changed
03. It Ain't Me Babe
04. Highway 61 Revisited
05. Simple Twist Of Fate
06. Duquesne Whistle
07. When I Paint My Masterpiece
08. Honest With Me
09. Tryin' To Get To Heaven
10. Make You Feel My Love
11. Pay In Blood
12. Tangled Up In Blue
13. Early Roman Kings
14. Desolation Row
15. Love Sick
16. Don't Think Twice, It's All Right
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody

20. encore crowd
21. Blowin' In The Wind
22. Ballad Of A Thin Man

23. crowd

Bob Dylan - piano, harmonica
Tony Garnier - bass
George Recile - drums
Stu Kimball - acoustic guitar, rhythm guitar, lead guitar
Charlie Sexton - lead guitar, rhythm guitar
Donnie Herron - violin, electric mandolin, pedal steel, lap steel







Link



Thursday, August 30, 2018

Bob Dylan 1995-12-09 Orpheum Theatre Boston, MA (LB10427)

Bob Dylan, 12/9/95, Boston, Massachusetts, 2CDR

LB-10427, (64min+49min), ltf, legendary taper F, ?? -> portable DATrecorder - clone ->(digital transfer) m-audio delta audiophile 2496, -> Wavelab -> ssrc -> Wavelab, levels raised -> cdwave, tracking -> tlh, I did not harm the sound of the recording in any way
---------------------------------------------------
bittorrent download 10/12; in 4-way comparison these are different recordings based on different crowd at end of d1t7; this and mk4 LB-5710 have the fullest sound with that warmer and this a little more upfront; next fullest is bravo LB-6104, and then NTJ LB-6083; excellent sound [A]
---------------------------------------------------
1 intro, 2 Crash On The Levee (Down In The Flood), 3 Tonight I'll Be Staying Here With You, 4 All Along The Watchtower, 5 Positively 4th Street, 6 Pledging My Time, 7 Silvio (Bob Dylan & Robert Hunter), 8 Tangled Up In Blue, 9 To Ramona, 10 John Brown, 1 Maggie's Farm, 2 Lenny Bruce, 3 Band introduction, 4 Seeing The Real You At Last, 5 Alabama Getaway (Robert Hunter/Jerry Garcia), 6 One Too Many Mornings, 7 Rainy Day Women # 12 & 35
---------------------------------------------------
Please retain this info file and its LB number as a marker for this lossless set
and if you spread it please list it in the description to avoid others getting duplicates


Link



Bob Dylan 1989 Compilation (People Sleeping In Broken Beds) (Pink Panther)

1989 PEOPLE SLEEPING IN BROKEN BEDS

Pink Panter Records

1989 Summer Tour of North America

***

Bob finished recording what would become Oh Mercy early in 1989 and then played 72 concerts before finally releasing the album on 18 September.
These 72 prior concerts are amazing in terms of high & consistent performance standard which revisited a very large number of his songs & the songs of others.
He had finally achieved what Jerry Garcia had told him he must do - reconnect with the songs from is vast catalogue & play them with conviction.
Bob started this process immediately after his strange 1987 concerts with The Grateful Dead. In late 1987, he toured Europe with Tom Petty and The Heartbreakers.
Bob played with The Heartbreakers in 86, but the 87 tour was completely different with Bob agreeing to play band requests for his past songs.
1988 brought the unexpected success of The Traveling Wilburys which gave his failing career a much needed boost & exposure to a new audience.
He also came up with a new business model - a small, stripped down road band doing large numbers of "never ending" concerts
& playing ever-changing setlists of his own songs & other people's songs that he liked.

Back to Oh Mercy, an album almost as famous for the songs left off it (God Knows, Series Of Dreams, Dignity, Born In Time) as it was for those on it.
Bob had a long time to think about what he wanted to include on Oh Mercy, & I suspect he considered not releasing it at all.
Bob had to make a decision - continue as a "wilbury" (Roy Orbison's death on 6 December 1988 made that unlikely), stick with the old songs,
or push forward into the future with new songs that he believed in. So Bob pushed the reset button - all the way back to 1981 & Shot Of Love,
the last Christian album which Bob had worked hard & long on & was very proud of but which sold very poorly. This was a very high risk career move & Bob knew it.

The released Oh Mercy (like Infidels) has heavily disguised, but it had a far more potent religious message than any previous album.
What Bob does with Oh Mercy is to actually answer some questions raised by some of his old songs - he tells you what he really believes, & more importantly, why.

Everything Is Broken is Trouble Part 2, Man In The Long Black Coat is Blowin' In The Wind Part 2, Ring Them Bells is Chimes Of Freedom Part 2.

The "message" of Oh Mercy goes something like this:

- people are incapable of managing or understanding the world without religious guidance.
- people revert to the dark side without such guidance - every man's conscience is vile and depraved.
- the world is a harsh and dangerous place and always will be - trouble and damage are everywhere.
- temptation & sexual love is the only "escape" in this world but it takes you to the dark side and does not last.
- life on earth is simply a test of character for the life beyond.
- life & death are the same thing if you pass the test - people don't live or die, people just float.
- the force of God is everywhere - blowin' in the wind, hurricane breeze.
- not everyone will pass the test for the life beyond - ring them bells for the chosen few.

Now you can accept that or reject it, but Bob had decided to return to religious songs - a high risk move based on past experience,
but after 72 concerts to think about it, Oh Mercy hit the streets on 18 September 1989, & a new tour leg started in New York on 10 October.

The NY concerts are bizarre - there is a new Bob on stage with something new & powerful to say.
Andrew Muir refers to the "demonic rage" of the four show NY residency which kicked off the tour.

This is scary stuff, & there is overt & covert religion everywhere.
Five new songs (Everything Is Broken, Disease Of Conceit, Most Of The Time, What Good Am I?, Man In The Long Black Coat)
are played most nights along with Like A Rolling Stone, All Along The Watchtower, I Shall Be Released & A Hard Rain's A-Gonna Fall.
The setlists are far more consistent for core songs that the concerts earlier in the year.
Shot Of Love is back - Shot Of Love, Dead Man, Dead Man, Trouble, Lenny Bruce.
There are mainstream hymns - Precious Memories & Rank Strangers To Me. There are Bob hymns - In The Garden, I Believe In You, Man Of Peace.

The most startling & serious performances are reserved for Bob on piano (the first piano Bob of the NET).
Check out Disease Of Conceit (Ithaca), Ring Them Bells (Poughkeepsie), Gotta Serve Somebody (Troy)
& the unbelievable rewrite of When You Gonna Wake Up? (Poughkeepsie) - the song has been drastically shortened
with only the first verse remaining from the original song. You cannot even make out the words - just fragments
(-left me in peace-another hungry mouth to feed-where he belongs-ain't that strong-schools-every time-),
but it is so profound & played with such conviction that it stops you in your tracks.
He achieved something like it with I'm Not There (1956) from the Basement Tapes.

Poughkeepsie is the best concert & is available in excellent sound. It is one of Bob's best concerts ever.

Just to ram it all home, immediately after the tour Bob retreats to a recording studio in Bloomington with Barry Goldberg
to record People Get Ready. You have got to wonder what else he recorded that day.

& you know what - Oh Mercy became the successful comeback album - praised by critics & fans alike.

The religion was ignored by almost everybody - as The Traveling Wilburys said, The Devil's Been Busy. He got away with it!

You have to ask yourself how all those beds got broken - one of the great Bob mysteries.

You have gotta hear this stuff.

***

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

***

All sourced from 100% lossless FLAC from best available sound sources.


***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

85 ball-tearing, sensational tracks
80 different songs
18 concerts are represented here (from the total of 27 concerts) plus 1 studio recording session.
7 hours & 37 minutes of music
1 bob

***

All 80 songs played on the tour leg are represented here.

The setlists were highly variable from night to night, with
3 songs being played twenty or more times,
12 songs being played ten or more times,
37 songs being played five or more times, and
26 songs only played once or twice.

*

Songs from Norfolk played but not recorded. Statistics below include missing songs.

Chrysler Hall
Norfolk, Virginia
7 November 1989

9.It Ain't Me, Babe
10.Everything Is Broken
11.What Good Am I?
12.I Shall Be Released
13.Man In The Long Black Coat
14.Like A Rolling Stone
15.Barbara Allen (trad.)
16.Maggie's Farm

*

2 song were played 27 times (out of 27 concerts):

Everything Is Broken (Oh Mercy)
Like A Rolling Stone

1 song was played 23 times:

Most Of The Time (Oh Mercy)

*

1 song was played 18 times:

What Good Am I? (Oh Mercy)

*

1 song was played 15 times:

Man In The Long Black Coat (Oh Mercy)

*

1 song were played 14 times:

All Along The Watchtower

*

1 song was played 12 times:

I Shall Be Released

*

4 songs were played 11 times:

Disease Of Conceit (Oh Mercy)
I Want You
Maggie's Farm
Man Of Peace

*

1 song was played 10 times:

It Takes A Lot To Laugh, It Takes A Train To Cry

*

5 songs were played nine times:

A Hard Rain's A-Gonna Fall
Highway 61 Revisited
It's All Over Now, Baby Blue
Mr Tambourine Man
Stuck Inside Of Mobile With The Memphis Blues Again

*

7 songs were played eight times:

Don't Think Twice, It's All Right
Gates Of Eden
Leopard-Skin Pill-Box Hat
Masters Of War
Positively 4th Street
Seeing The Real You At Last
Simple Twist Of Fate

*

3 songs were played seven times:

I'll Remember You
In The Garden
It Ain't Me, Babe

*

4 songs were played six times:

Ballad Of A Thin Man
It's Alright, Ma (I'm Only Bleeding)
My Back Pages
You're A Big Girl Now

*

6 songs were played five times:

Ballad Of Hollis Brown
Boots Of Spanish Leather
I'll Be Your Baby Tonight
Lay, Lady, Lay
Rainy Day Women #12 & 35
Shelter From The Storm

*

7 songs were played four times:

Barbara Allen
Dead Man, Dead Man
Knockin' On Heaven's Door
Love Minus Zero / No Limit
Tears Of Rage
The Lonesome Death Of Hattie Carroll
To Be Alone With You

*

9 songs were played three times:

Girl Of The North Country
I Believe In You
I Don't Believe You (She Acts Like We Never Have Met)
Just Like A Woman
Lakes Of Pontchartrain
One Too Many Mornings
Song To Woody
Subterranean Homesick Blues
Two Soldiers

*

8 songs were played twice:

Dark As A Dungeon
John Brown
Mama, You Been On My Mind
Most Likely You Go Your Way (And I'll Go Mine)
Precious Memories
The Times They Are A-Changin'
To Ramona
Trouble

*

18 songs were played only once:

Absolutely Sweet Marie
Bunkhouse Theme [instrumental]
Everybody's Movin'
Forever Young
Gotta Serve Somebody
One Irish Rover
People Get Ready (recording studio)
Queen Jane Approximately
Rank Strangers To Me
Ring Them Bells (Oh Mercy)
Shot Of Love
Silvio
Tangled Up In Blue
The Man In Me
Visions Of Johanna
Wagoner's Lad
When First Unto This Country
When You Gonna Wake Up?

***

The Beacon Theatre
New York City, New York
10 October 1989

1.75th Street Autograph Signing
2.Rank Strangers To Me (A. Brumley)
3.Girl Of The North Country
4.Bunkhouse Theme

Concert # 144 of The Never-Ending Tour. 
First concert of the 1989 USA Fall Tour.
Concert # 66 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Rank Strangers To Me starts acoustic and ends electric.

Bob Dylan (vocal, harmonica & guitar), G.E. Smith (guitar) on Girl Of The North Country.

LB-6808;
Shining At The Beacon (Cosmic Thrills / CT 50003-4)

Good sound [B}.

***

The Beacon Theatre
New York City, New York
11 October 1989

Not used.

Concert # 145 of The Never-Ending Tour. 
Second concert of the 1989 USA Fall Tour.
Concert # 67 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

The Beacon Theatre
New York City, New York
12 October 1989

5.What Good Am I?
6.I Don't Believe You (She Acts Like We Never Have Met)
7.You're A Big Girl Now
8.Boots Of Spanish Leather
9.Lakes Of Pontchartrain (trad.)
10.Gates Of Eden
11.Queen Jane Approximately
12.Masters Of War
13.Most Of The Time

Concert # 146 of The Never-Ending Tour. 
Third concert of the 1989 USA Fall Tour.
Concert # 68 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Boots Of Spanish Leather,
Lakes Of Pontchartrain,
Gates Of Eden.

Bob Dylan (harmonica) on:
I Don't Believe You (She Acts Like we Never Have Met,
You're A Big Girl Now,
Boots Of Spanish Leather,
Lakes Of Pontchartrain,
Queen Jane Approximately.

LB-7268;
Equipment: CD-R of unknown generation sent by DM >
wav (EAC secure mod) > flac [flac frontend 1.1.2
(except for Lakes Of Pontchartrain - version 1.1.3);
align on sb option - level 8 - verify on]

Excellent sound [A-].

***

The Beacon Theatre
New York City, New York
13 October 1989

14.Precious Memories (arr. by Bob Dylan)
15.Stuck Inside Of Mobile With The Memphis Blues Again
16.Don't Think Twice, It's All Right
17.Song To Woody
18.In The Garden
19.Like A Rolling Stone
20.Man In The Long Black Coat
21.Leopard-Skin Pill-Box Hat

Concert # 147 of The Never-Ending Tour. 
Concert # 4 of the 1989 USA Fall Tour.
Concert # 69 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Don't Think Twice, It's All Right,
Song To Woody.

Bob Dylan (harmonica) on:
Precious Memories,
Don't Think Twice, It's All Right,
Song To Woody,
Like A Rolling Stone,
Man In The Long Black Coat,
Leopard-Skin Pill-Box Hat.

Live debuts of Man In The Long Black Coat and Precious Memories.

At the end of Leopard-Skin Pill-Box Hat Dylan starts to play hand-held harmonica sitting on his heels
at the edge of the left side of the stage (seen from the audience).
After a while he jumps down and walks up the aisle, still playing the harmonica, and disappears through one of the exit doors.
The other members of the band look totally confused, but continue to play for quite awhile, not knowing if Dylan is coming back or not.
But he does not and the band ends the song somewhat abruptly.
The Dylan folklore has it that his bicycle was waiting for him outside the theater and that he simply cycled home to his apartment on Manhattan.

LB-1872

Jokerman: Very good to excellent sound [B+].
Pink Panther: Excellent sound [A-].

***

The Tower Theatre
Upper Darby, Pennsylvania
15 October 1989

22.Two Soldiers (trad.)
23.Everything Is Broken

Concert # 148 of The Never-Ending Tour. 
Concert # 5 of the 1989 USA Fall Tour.
Concert # 70 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Two Soldiers.

Bob Dylan (harmonica) on Two Soldiers.

Live debut of To Be Alone With You.

LB-2301

Very good to excellent sound [B+].

***

The Tower Theatre
Upper Darby, Pennsylvania
16 October 1989

24.The Man In Me
25.I Shall Be Released

Concert # 149 of The Never-Ending Tour. 
Concert # 6 of the 1989 USA Fall Tour.
Concert # 71 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on The Man In Me.

During Leopard-Skin Pill-Box Hat Dylan does his disappearing act for the second and last time.
Please refer to the note for October 13.

LB-8444;
Transfer: JTT;
Equipment: Master Cassette > Cassette (JG) > Cassette (TDK SA90 Dolby B) >
Akai GX95 Mk 2 (Dolby B) > Line in to Soundforge PRO 10 >
FLAC Level 6 align on sector boundaries

Good sound [B].

***

Constitution Hall
Washington, District Of Columbia
17 October 1989

Not used.

Concert # 150 of The Never-Ending Tour. 
Concert # 7 of the 1989 USA Fall Tour.
Concert # 72 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Constitution Hall
Washington, District Of Columbia
18 October 1989

26.One Irish Rover (Van Morrison)
27.Silvio (Bob Dylan & Robert Hunter)

Concert # 151 of The Never-Ending Tour. 
Concert # 8 of the 1989 USA Fall Tour.
Concert # 73 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

G.E. Smith (back-up vocal) on One Irish Rover.

LB-5504

Good sound [B].

***

Incredible concert - one of Bob's best ever - in great sound.

Mid-Hudson Arena
Poughkeepsie, New York
20 October 1989

28.The Times They Are A-Changin'
29.Absolutely Sweet Marie
30.Seeing The Real You At Last
31.Dead Man, Dead Man
32.I'll Remember You
33.Love Minus Zero/No Limit
34.One Too Many Mornings
35.When You Gonna Wake Up?
36.Ring Them Bells
37.Tears Of Rage (Bob Dylan & Richard Manuel)
38.Everybody's Movin' (Glen Trout)
39.Most Of The Time
40.All Along The Watchtower

Concert # 152 of The Never-Ending Tour. 
Concert # 9 of the 1989 USA Fall Tour.
Concert # 74 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Love Minus Zero / No Limit,
One Too Many Mornings.

Bob Dylan (harmonica) on:
The Times They Are A-Changin',
Love Minus Zero / No Limit,
One Too Many Mornings.

Bob Dylan (piano) on:
When You Gonna Wake Up?,
Ring Them Bells.

Debut for Ring Them Bells.

First and so far the only rendition of When You Gonna Wake Up during The Never-Ending Tour.

First concert where Bob Dylan plays piano during The Never-Ending Tour.

Last performance of Dead Man, Dead Man.

LB-1777

Excellent sound [A-].

***

Keaney Auditorium
University Of Rhode Island
South Kingston, Rhode Island
22 October 1989

41.John Brown

Concert # 153 of The Never-Ending Tour. 
Concert # 10 of the 1989 USA Fall Tour.

Concert # 75 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

LB-4338;
Taper: Kevin Hall;
Taping Equipment:
Sony WM-D6C Professional Walkman recorder,
2 Beyer M-700 microphones;
Mastering: Carl Morstadt;  
Mastering Equipment: Master Cassette >
Sony K707ES cassette deck >
M-Audio Firewire Audiophile 2496 >
CDWAV 24-bit/96-KHz wav files >
Goldwave (normalizing and crossfades) >
CD Wave (track breaks),
dBpowerAMP Audio Converter
(24-bit/96-KHz wav files converted to 16-bit/44.1 KHz wav files) >
FLAC Front End (with sector boundary alignment)

Very good to excellent sound [B+].

***

The Opera House
Boston, Massachusetts
23 October 1989

42.Trouble
43.My Back Pages
44.Simple Twist Of Fate
45.Wagoner's Lad (trad.)
46.It's Alright, Ma (I'm Only Bleeding)
47.Shelter From The Storm
48.I Shall Be Released

Concert # 154 of The Never-Ending Tour. 
Concert # 11 of the 1989 USA Fall Tour.
Concert # 76 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Wagoner's Lad,
It's Alright, Ma (I'm Only Bleeding).

Bob Dylan (harmonica) on:
Simple Twist Of Fate,
Wagoner's Lad,
Shelter From The Storm.

Last live performance of Trouble.

LB-8443;
Remaster: JTT;
Equipment: Master Cassette > Cassette (JG) >
Cassette (TDK SA90 Dolby B) > Akai GX95 Mk 2 (Dolby B) >
Line in to Soundforge PRO 10 > FLAC Level 6 align on sector boundaries

Jokerman: Fair sound [B-].
Pink Panther: Very good to excellent sound [B+]. Jokerman really stuffed up here.

***

The Opera House
Boston, Massachusetts
24 October 1989

49.Man Of Peace
50.I Believe In You
51.Forever Young
52.Highway 61 Revisited
53.Mr Tambourine Man
54.The Lonesome Death Of Hattie Carroll
55.It Takes A Lot To Laugh, It Takes A Train To Cry
56.Maggie's Farm

Concert # 155 of The Never-Ending Tour. 
Concert # 12 of the 1989 USA Fall Tour.
Concert # 77 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Mr Tambourine Man,
The Lonesome Death Of Hattie Carroll.

Bob Dylan (harmonica) on:
I Believe In You,
Forever Young,
Mr Tambourine Man,
The Lonesome Death Of Hattie Carroll.

G.E. Smith (electric slide guitar) on Highway 61 Revisited.

LB-2237

Excellent sound [A-].

***

The Opera House
Boston, Massachusetts
25 October 1989

Not used.

Concert # 156 of The Never-Ending Tour. 
Concert # 13 of the 1989 USA Fall Tour.
Concert # 78 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Houston Fieldhouse
Rensselaer Polytechnic Institute
Troy, New York
27 October 1989

57.Gotta Serve Somebody
58.Lenny Bruce
59.Mama, You Been On My Mind
60.To Ramona

Concert # 157 of The Never-Ending Tour. 
Concert # 14 of the 1989 USA Fall Tour.
Concert # 79 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Mama, You Been On My Mind,
To Ramona.

Bob Dylan (piano) on Gotta Serve Somebody.

Bob Dylan (harmonica) on:
Mama, You Been On My Mind,
To Ramona.

Live debut of Disease Of Conceit.

LB-1894

Excellent sound [A-].

***

Ben Light Gymnasium
Ithaca College
Ithaca, New York
29 October 1989

61.Positively 4th Street
62.Lay, Lady, Lay
63.Knockin' On Heaven's Door
64.A Hard Rain's A-Gonna Fall
65.Disease Of Conceit

Concert # 158 of The Never-Ending Tour. 
Concert # 15 of the 1989 USA Fall Tour.
Concert # 80 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Knockin' On Heaven's Door,
A Hard Rain's A-Gonna Fall.

Bob Dylan (harmonica) on Knockin' On Heaven's Door.

Bob Dylan (piano) on Disease Of Conceit.

LB-2246;
Taper: Paul Loeber (PL)

Very good to excellent sound [B+].

***

Arie Crown Theater
Chicago, Illinois
31 October 1989

66.I Want You
67.Ballad Of A Thin Man
68.Rainy Day Women #12 & 35
69.Ballad Of Hollis Brown
70.I'll Be Your Baby Tonight
71.Love Minus Zero / No Limit
72.Man In The Long Black Coat

Concert # 159 of The Never-Ending Tour. 
Concert # 16 of the 1989 USA Fall Tour.
Concert # 81 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Love Minus Zero / No Limit.

Bob Dylan (harmonica) on:
I Want You,
Ballad Of A Thin Man,
Love Minus Zero / No Limit,
Man In The Long Black Coat.

LB-5461

Jokerman: Very good to excellent sound [B+],
Pink Panther: Excellent sound [A-].

***

Hill Auditorium
University Of Michigan
Ann Arbor, Michigan
1 November 1989

73.Visions Of Johanna

Concert # 160 of The Never-Ending Tour. 
Concert # 17 of the 1989 USA Fall Tour.
Concert # 82 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, harmonica & guitar), G.E. Smith (guitar) on Visions Of Johanna.

***

State Theater
Cleveland, Ohio
2 November 1989

74.Shot Of Love
75.Just Like A Woman
76.It's All Over Now, Baby Blue
77.It Ain't Me, Babe

Concert # 161 of The Never-Ending Tour. 
Concert # 18 of the 1989 USA Fall Tour.
Concert # 83 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, harmonica & guitar), G.E. Smith (guitar) on:
It's All Over Now, Baby Blue,
It Ain't Me, Babe.

Last live performance of Shot Of Love.

LB-2362

Very good to excellent sound [B+].

***


University Of Pennsylvania
Indiana, Pennsylvania
4 November 1989

Not used.

Concert # 162 of The Never-Ending Tour. 
Concert # 19 of the 1989 USA Fall Tour.
Concert # 84 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Cassell Coliseum
Virginia Polytechnic Institute
Blacksburg, Virginia
6 November 1989

Not used.

Concert # 163 of The Never-Ending Tour. 
Concert # 20 of the 1989 USA Fall Tour.
Concert # 85 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Chrysler Hall
Norfolk, Virginia
7 November 1989

78.Most Likely You Go Your Way (And I'll Go Mine)
79.When First Unto This Country (trad.)

Concert # 164 of The Never-Ending Tour. 
Concert # 21 of the 1989 USA Fall Tour.
Concert # 86 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on Most Likely You Go Your Way (And I'll Go Mine)

The circulating tape is incomplete and contains only 1-7 and a fragment of 8.

First of only two performances of When First Unto This Country (as of revision date).
The second was in Budapest 12 June 1991.

LB-0216

Fair sound [B-].

***

Duke University
Durham, North Carolina
8 November 1989

Not used.

Concert # 165 of The Never-Ending Tour. 
Concert # 22 of the 1989 USA Fall Tour.
Concert # 87 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

The Fox Theater
Atlanta, Georgia
10 November 1989

80.To Be Alone With You
81.Dark As A Dungeon (Merle Travis)

Concert # 166 of The Never-Ending Tour. 
Concert # 23 of the 1989 USA Fall Tour.
Concert # 88 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Dark As A Dungeon.

***

Sunrise Musical Theater
Miami, Florida
12 November 1989

Not used.

Concert # 167 of The Never-Ending Tour. 
Concert # 24 of the 1989 USA Fall Tour.
Concert # 89 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Sunrise Musical Theater
Miami, Florida
13 November 1989

82.Subterranean Homesick Blues
83.Lay, Lady, Lay
84.Tangled Up In Blue

Concert # 168 of The Never-Ending Tour. 
Concert # 25 of the 1989 USA Fall Tour.
Concert # 90 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Tangled Up In Blue.

First acoustic version of Tangled Up In Blue since Slane, Ireland, 9 July 1984.
Next acoustic version was performed in Washington, DC, 24 June 1995.

***

Festival Hall
Tampa Bay Performing Arts Center
Tampa, Florida
14 November 1989

Not used.

Concert # 169 of The Never-Ending Tour. 
Concert # 26 of the 1989 USA Fall Tour.
Concert # 91 with the second Never-Ending Tour

***

Festival Hall
Tampa Bay Performing Arts Center
Tampa, Florida
15 November 1989

Not used.

Concert # 170 of The Never-Ending Tour. 
Concert # 27 of the 1989 USA Fall Tour.
Concert # 92 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Belmont Hall Studio
Brown County
Bloomington, Indiana
20 November 1989

Produced by Barry Goldberg

85.People Get Ready (Curtis Mayfield)

Bob Dylan vocal backed by unidentified musicians.

***

Rock on, Bob!

XXX

Link



Monday, August 27, 2018

Bob Dylan 1978-xx-xx LA Spring Sessions, Rehearsals & Concerts Pink Panther

1978 LA SPRING SESSIONS, REHEARSALS & CONCERTS
('Street Legal' reports, explanations, and replacements)

From    Pink Panther Records
(with great respect)


Here you are, reading the Looong version of the notes to this Pink Panther Records production of the:

          1978 LA SPRING SESSIONS, REHEARSALS & CONCERTS.
 
We suggest you use this version for deep learning, reflection, and reference leading to a better understanding of Dylan's situation as he heads in to 1979, AND his crucial showdown / meltdown / crisis - his spiritual experience with the Lord! This is 'Street Legal' reports, explanations, and replacements.  What Street Legal should have sounded like!

!!NOT the longest Pink Panther, but one with exceptional sound quality!!

(A shorter version is included for use as a 'setlist' for reference while listening.)
Lineage is included in short version.

***

Even by Bob's standards, the recording of 'Street Legal' was weird. To begin with, Bob had assembled a band which included: world-class jazz musicians, ex-members of Elvis Presley's TCB (Taking Care Of Business) Band (Elvis died in Memphis on 16 August 1977), a British prog-rock drummer, & fragments of the Rolling Thunder Revue. There was an overabundance of talent & a very disperate mix of musical genres. Bob then stuck all this talent in a converted gunshop (Rundown Studios) in LA to record, in a week, Street Legal, in a live-in-the-studio format using a mobile studio, just like Exile On Main Street?! Problem was, the acoustics were dreadful. Bob had been inspired to do this after listening to the tapes of the Jerry Scheff audition in April which was recorded this way. Jerry Scheff replaced Rob Stoner, who was fired from the band after the first 1978 tour leg (Japan, New Zealand & Australia).

The resulting album - the music was fantastic & the sound was horrible.


After the album was recorded, Bob spend a week doing seven consecutive nights without a break at a residency at LA's Universal Amphitheater as a warm-up to a summer tour of Europe. Now Bob could have saved himself a lot of trouble by getting LA resident Mike Millard to record Street Legal using his mobile "wheelchair" recording studio.

Millard recorded three of the seven nights at Universal Amphitheater but only succeeded in completely recording the third concert by using two recorders with one starting later than the other to overlap. By 1978, Millard was a legendary bootlegger of both Led Zeppelin & The Rolling Stones (you would think an experienced Zeppelin bootlegger would not run out of tape), but these bobtapes only recently emerged & were a very pleasant surprise as the LA residency had long suffered from very poor sounding recordings. The setlists were fairly static & LA got little of the yet-to-be-released Street Legal, but what it did get was some amazing music from Bob's back catalogue. The vast majority of songs performed by Bob in LA were recorded by Millard, so only a few on this compilation are from inferior sources. Most of this sounds better than most Columbia official live recordings, & it was recorded on analogue tapes using a reel-to-reel recorder with decent microphones hidden in a wheelchair. Some of the best live Bob you will ever hear. Is is rock, is it jazz, is it R&B, is it fusion? Who knows, but it is definitely wonderful. What Street Legal should have sounded like! These songs would evolve dramatically as the year-long tour progressed, with the jazz musicians & Billy Cross leading the way with more & more improvisition. But even jazz improvisation starts with the "standard" interpretation, & that is what we have on this short tour leg.


!!NOT the longest Pink Panther, but one with exceptional sound quality!!

***

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump.   

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.   

Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

***

Statistics for this compilation (yes, false news, lies, damn lies & statistics masquerading as facts)


48 ball-tearing, sensational tracks
40 different songs
6 concerts are represented here (from the total of 7 concerts) plus 1 rehearsal and 1 studio session
3 hours & 34 minutes of music
1 bob

***

All songs played on the tour leg are represented here.
Sound quality is, for the most part, exceptional.
Duplicated songs are from the rehearsals & the last Street Legal recording session.

***


WE BETTER TALK THIS OVER (Bob Dylan) - probably Bob's saddest song.

I think we better talk this over
Maybe when we both get sober
You'll understand I'm only a man
Doin' the best that I can

This situation can only get rougher
Why should we needlessly suffer?
Let's call it a day, go our own different ways
Before we decay

You don't have to be afraid of looking into my face
We've done nothing to each other time will not erase
I feel displaced, I got a low-down feeling
You been two-faced, you been double-dealing

I took a chance, got caught in the trance
Of a downhill dance

Oh, child, why you wanna hurt me?
I'm exiled, you can't convert me
I'm lost in the haze of your delicate ways
With both eyes glazed

You don't have to yearn for love, you don't have to be alone
Somewheres in this universe there's a place that you can call home

I guess I'll be leaving tomorrow
If I have to beg, steal or borrow
It'd be great to cross paths in a day and a half
Look at each other and laugh

But I don't think it's liable to happen
Like the sound of one hand clappin'
The vows that we kept are now broken and swept
'Neath the bed where we slept

Don't think of me and fantasize on what we never had
Be grateful for what we've shared together and be glad
Why should we go on watching each other through a telescope?
Eventually we'll hang ourselves on all this tangled rope

Oh, babe, time for a new transition
I wish I was a magician
I would wave a wand and tie back the bond
That we've both gone beyond


***

Background information:


Wikipedia

Mike Millard, nicknamed "Mike The Mic" was an avid concert taper in the 1970s and 1980s, recording mostly Led Zeppelin, Pink Floyd and The Rolling Stones concerts in California, especially at the Los Angeles Forum. He taped virtually every show at the Forum from 1974 to 1980. Many of his recordings found their way into the hands of bootleggers who sold Millard's work to fans.

Starting with a basic mono recorder in 1974, Millard upgraded to a Nakamichi stereo recorder with AKG Acoustics microphones for the 1975 Led Zeppelin shows in the area. He often used a wheelchair to conceal his equipment, pretending to be disabled. Unlike most 1970s audience bootlegs, Millard's recordings are noted for their great sound quality, and are to this day considered some of the finest audio bootlegs available.

Millard's recording of the Led Zeppelin concert on June 21, 1977 at the Forum (allegedly taped from row number six) was released under the title Listen To This Eddie, and remains one of the best-known Led Zeppelin bootlegs. His recording of the opening number from the concert, The Song Remains The Same, was included in the promos menu of the Led Zeppelin DVD. Millard recorded all of The Rolling Stones 1975 shows at the LA Forum, and his recording of the Sunday, June 13, 1975 show (titled LA Friday) has become one of the most widely spread recordings of a Rolling Stones concert.

Millard was never behind the sale of bootlegs and was openly against the illegal sale of his recordings, like many audience tapers today. He was notorious for "marking" copies of his tapes so that if one of his recordings turned up for sale on LP or CD, he would be able to tell which person he had traded it to. He kept a very detailed logbook of his marked recordings and who they were distributed to. "Unmarked" copies of Mike's recordings are very scarce. Recently, several unmarked first generation copies of his Led Zeppelin recordings surfaced in trading circles.

Millard is said to have suffered from severe depression, and he committed suicide in 1990.

***

Robert Shelton

Dylan went into a Santa Monica studio for a week in April to tape Street-Legal. With the momentum of the world tour, the album did well around the world, but American critics admonished him to "get a producer."

Street-Legal is one of Dylan's most overtly autobiographical albums, telling of loss, searching, estrangement, and exile. It also clearly foreshadows the Christian conversion ahead, but who among us could perceive it at that time? It is peopled by a group of narrators who are oppressed, wandering, and lonely, traveling in a foreign country of the spirit. The tarot-card imagery of Changing Of The Guard has confounded some of the shrewdest interpreters, but it is difficult not to ascribe it either to his years with Sara or with The Band, or both. I confess the song is still an enigma to me.

But the album is generally strong on communication, rather than on code. I call attention to two minor gems and a masterwork on the album, which have not fully been appreciated.

New Pony has a scathing blues riff on which the women's voices drive home the repeated phrase "How much longer?" out of the Bible, yet in a song that seems to be pure sexuality. Senor (Tales Of Yankee Power) is a strong and rueful political statement that finds American foreign policy confused and unjust. More biblical language is sandwiched in between American folk language with the reference to overturning the tables, from the passages describing Jesus and the money-changers.

I hear many echoes of Robert Johnson, the blues giant, especially on Is Your Love In Vain? but also later in the phrase about juice running down a leg. Powerful, raw stuff amid some tenderness in Baby Stop Crying, True Love Tends To Forget, and We Better Talk This Over. I hear some fine Stevie Wonder echoes on the cataloging of No Time To Think.

But the masterwork is the final song of anguish and prophecy, a song with the sweep of Like A Rolling Stone, Where Are You Tonight? (Journey Through Dark Heat). Here we can discern the move toward Christianity, the foreshadowing of major changes after the hellish personal disorder that the narrator has gone through. This is catharsis and resolution as he steals off into a troubled night with such companions as St John of the Book Of Revelation. There are technical raw spots on the album, but Dylan clearly wanted to tape it red-hot and from the heart, and he had allowed himself only a week to do it before hitting the road again.

***

Howard Sounes

The first leg of the world tour ended on 1 April 1978 in Sydney, Australia. Although he had worked hard to make the tour a success, Rob Stoner had become very unpopular with colleagues in the band. "Rob wanted to be the boss," says Steven Soles. Stoner was fired in Sydney and replaced with Jerry Scheff, who had played bass for Elvis Presley. Debi Dye-Gibson also left the tour, partly because she was pregnant and also because she could not get along with Helena Springs. She was replaced with Carolyn Dennis, who later assumed particular importance in Dylan's life. Carolyn Yvonne Dennis, also known as Carol or Carole Dennis, was born in Missouri in 1954. Her mother was Madelyn Quebec, who sang with Ray Charles as a member of The Raelettes. Carolyn had grown up in a strong tradition of gospel music to become a fine singer in her own right. She was a large woman with a powerful but angelic voice and a very pretty face. She was on tour with Burt Bacharach when she received a call about working with Dylan. "I have to say, as embarrassing as it might be, I didn't know who he was, because my young life had been so reclusive and so sheltered," says Carolyn. "So I called and I asked, "Who is Bob Dylan?"."

Dylan had three months before he had to go back on the road. In the meantime, he wanted to record a new album, to be called Street Legal, the first album that would be delivered under a recently renegotiated contract with Columbia. Dylan consulted his former Columbia producer Bob Johnston about booking into the Record Plant, but they could not get convenient dates, so Dylan decided to record at his rehearsal studio in Santa Monica without Johnston or any name producer. He worked in a large upstairs room formerly used as a gun factory. Acoustically, the room was terrible, with a linoleum floor and polystyrene ceiling tiles. To muffle Ian Wallace's battery of drums, Dylan's assistant, Arthur Rosato, suspended a parachute above the kit. Power leads were fed out through windows to a mobile recording unit in the street. With regular breaks for coffee and pastries next door at the Napoleon cafe, the album was finished in less than a week. Dylan enjoyed working at a brisk clip, and was not overly concerned about sound quality. He told Billy Cross that a recording was merely the performance of a song that day. He was not looking for perfection.

The songs had for the most part been written the previous summer on the farm, when Dylan was with Faridi McFree, and were registered to a newly created publish¬ing company, Special Rider Music. The songs were concerned primarily with the travails of love. However, autobiographical references were disguised with dense imagery including references to tarot cards in Changing Of The Guards, and astrology in No Time To Think. Dylan's interest in this sort of mystical mumbo-jumbo seems to have been a hangover from his relationship with McFree and was perhaps indicative of Dylan searching for something to give meaning to his life. He seemed less self-assured than in the past and a lack of focus weakened the impact of many of the songs on Street Legal. There are, however, some lively numbers. New Pony was a lustful blues that some of the band members thought of as being inspired by Dylan's relationship with Helena Springs. Senor (Tales Of Yankee Power) can be seen as a signpost to Dylan's conversion to Christianity. In the song, he beseeched the Senor, an enigmatic, Messiah-like figure, for direction, sounding frightened by the place he found himself in. While the song contains powerful images, and interesting biblical references, as does so much of his work, Senor (Tales Of Yankee Power) also sounded contrived to some ears, incorporating in its imagery some of the showy exoticism of Desire and a tinge of the specious nonsense of tarot. Baby Stop Crying was a fine love song. Perhaps the best song on the album was Where Are You Tonight? (Journey Through Dark Heat), in which Dylan seemed to accept the failure of his marriage and appeared to give vent to feelings of regret and maybe his wish to return to a time when he and Sara were happy. Beginning with the patter of Bobbye Hall's tomtoms, the song was a sinuous drag through a broken love affair. The first line described the classic lonesome image of a "long distance train rolling through the rain." The song built to a climax of longing and despair that segued into a guitar break from Billy Cross that sounded like the weeping of tears.

Unfortunately, Street-Legal sounded like it had been recorded under wet cardboard, and Dylan was not pleased with the result. "After the recording, they fired all of us," says keyboard player Alan Pasqua, who remembers word coming to him via one of Dylan's gofers. "The whole band got fired. I guess he didn't like the record." But Dylan needed his band to complete the world tour, so they were all quickly hired back again. Dylans misgivings about Street Legal were borne out, however, when it was released to mixed reviews in the summer of 1978. Greil Marcus wrote in Rolling Stone that Dylan sounded "utterly fake."

***

Nigel Williamson

"There is an amazing presence or power here. But it is blocked, denied, kept out of reach." Paul Williams

"Simply impossible to pay attention to for more than a couple of minutes at a time." Greil Marcus

"His best since John Wesley Harding." Michael Watts, Melody Maker

Reviews of three apparently completely different albums called Street Legal.

With the world tour next due to touch down in Europe in June 1978, Dylan had a brief window to record a new album on his return from Australia and the Far East. Street Legal was cut in five days in April 1978 at his Rundown Studio in Los Angeles with a mobile recording truck.

The problem with the album was not the songs, most of which had been written while he was with Faridi McFree the previous summer, and several of which were extremely strong both melodically and lyrically. Nor was there anything wrong with the playing, although the horns and girlie choruses were not to everyone's taste.

But technically, the recording was a disaster, sounding, as Howard Sounes put it, "like it had been recorded under wet cardboard". Dylan knew it too. "I couldn't find the right producer," he complained, "so I just brought in the remote truck and cut it, went for a live sound." When he listened to the album on playback, he was so disheartened that he responded by sacking the entire band, only to rehire them again when he realised he had insufficient time to find replacements for the fast-approaching European tour dates.

Yet, according to the musicians, the problems with the sound were entirely of Dylan's own making. Violinist David Mansfield reported that the engineers attempted to record the album professionally, only to be told by Dylan, "Get rid of this crap, put your stuff around in a circle and let's just play." The live feel failed woefully to translate onto tape and it was not until the album was remastered for release on SACD in 2003, using the most sophisticated digital techniques, that it was restored to anything like how Dylan had originally meant the record to sound.

Although he was acutely aware of its failings, Dylan was bitterly disappointed when the album only reached #11 in the United States charts, a desperately poor showing considering the previous three studio albums had all gone to #1. Greil Marcus, who had famously opened his Rolling Stone review of Self Portrait with the words, "What is this shit?" attacked Street Legal with similar ferocity as "utterly fake". In Britain, it fared better and made #3 and received better reviews, particularly in Melody Maker which had failed to join in the praise for Blood On The Tracks and perversely declared Street Legal to be Dylan's "best album since John Wesley Harding".

The favourable British reaction appears to have been swayed by the fact that Street-Legal's release coincided with the hype surrounding a week of sell-out gigs at London's Earl's Court at the start of his first European tour since 1966, that had fans queuing for 48 hours before tickets went on sale.

Britain was in the throes of its punk revolution and while in London Dylan took the time to check out such punk / new wave acts as The Clash, Elvis Costello and Graham Parker. At one point during his stay, he encountered Sid Vicious, who threatened him with a knife for reasons he was too out of it to explain, before the doomed Sex Pistol's bassist was hustled away.

Dylan's Earl's Court shows were greeted with something approaching hysteria. Melody Maker ran an eight-page pull-out supplement and a review in the Daily Mail carried the headline, "The Greatest Concert I Have Ever Seen". After dates in Sweden, Holland, Germany and France, Dylan returned to Britain for an equally triumphant appearance before 200,000 people at the Blackbushe festival, at which Eric Clapton joined him for an encore of Changing Of The Guards. 

***

Clinton Heylin

Only after six weeks of tour rehearsals and a Far East tour did Dylan begin rehearsing his new songs with the touring band. If some of the Street Legal songs were attempted at sound-checks (Stoner thinks they were, though there are no details of any such sound-check), it is only after Australia that we have evidence of Dylan and the band working on the songs. Within days of returning to Los Angeles, Dylan was required to audition a new bass player. Rob Stoner wanted out and Jerry Scheff, a Presley perennial, was quickly drafted in.

What purports to be Scheff's audition tape includes an uncompromising Dylan working on two new songs, one scheduled for Street Legal (We'd Better Talk This Over), the other not (Coming From The Heart). The latter was one of half a dozen songs Dylan had written with backing singer Helena Springs during the Far East tour and it has a quite different feel to the songs written alone in Minnesota. We'd Better Talk This Over, even at this stage, days away from the Street-Legal sessions, was going through some final lyrical twists ("Every time we'd be alone, nothing's ever right / Even when we're making love, it winds up in a fight"). With Scheff on board, Dylan was venturing into uncharted seas, belatedly rehearsing an entire album with his band.

Though he knew he had very little time in which to record his first album in two and a half years (the band badly needed a break before a daunting European tour), Dylan was once again looking to cut the songs live to 16-track. Mirroring the Blood On The Tracks experience, he already knew which nine songs he intended to record and, despite the problems experienced with a big band at the Desire sessions, was determined to persevere with the live approach. Unfortunately, the first logistical problem this created was finding a large enough studio to house his touring band.

Arthur Rosato, "They had booked it at Record Plant and the studio they had booked was living-room size. The studio people were so used to one guy coming in and doing his parts, and I said, "No we do it all at once," and they were looking at us like, "Totally live?" On that album, there's four overdubs on the whole thing and those were guitar parts and one sax part. I called Wally Heider's and had a truck brought in. All the vocalists were singing live."

So the recording of Street-Legal was never originally scheduled to take place at Rundown, which was hardly set up to record a "1970s-sounding" album (Certainly not with the TASCAM 8-track assembled downstairs while Dylan had been touring the Far East, the very setup responsible for all subsequent Rundown reference recordings). With no time to think, Dylan brought in a mobile truck, and recorded the album as if it was just another tour rehearsal. Astonishingly, given the lack of usable cuts from the July 1975 big band sessions, Dylan also elected to use Columbia producer Don Devito, though it was Arthur Rosato who carried out most of the engineering duties. It seems that Dylan was not about to learn his lesson from the aborted Desire experiment, for not only did he cut Street Legal live, but he clearly felt that he could record the album in the same way Joel Bernstein had made tapes of the tour rehearsals, using floor-mounted monitors rather than conventional headphones to relay the sound to each musician.

Joel Bernstein, "To have wedges, which are two 12-inch speakers and a horn, aiming up at you, well, of course, when you're live you have to hear yourself. The fact that it's leaking into your vocal mike is secondary in a live situation, you really need to hear yourself above a lot of loud sound. But when you're recording, the last thing you want to have is a wedge with anything in it, including your voice. If you have your voice when you're singing into the microphone coming back into that wedge and then back into your microphone, first of all you've got to equalise it terribly just to make sure it's not gonna feedback. No matter how you equalise it, compared with headphones, which are adding nothing to the vocal signal, ou've got a lot of stuff going on there which is gonna really thin the sound out." What Dylan evidently had in mind was a naturalistic approach to recording that maintained the interplay between each musician. Uninterested in redoing vocals, and with distinct limits placed on any musician's ability to overdub, Dylan did achieve his first imperative, recording the songs quickly. According to Rosato, the album was recorded in just five days and mixed –
largely by Devito and Rosato, Dylan's input being a series of yeas and nays, in a further 15 (they were, of course, hamstrung at this point by the very methods that had hade recording such a breeze). Even if Dylan had been willing to indulge Devito, vocal overdubs were precluded by the abount of leakage into the vocal track from the other musicians involved.

The results were pretty much an unmitigated disaster. With hindsight, it is amazing to me that, given his recording methods, it took Dylan 17 years to make such a badly recorded album. For Street-Legal is not an album unduly flawed in conception, but one dramatically flawed in execution. There would have been no way for Devito or Rosato to salvage those songs from the 16-track morass that is Street Legal. What Greil Marcus dismissed, in his Rolling Thunder review of the album, as Dylan "faking it" is not symptomatic of any lack of interest in the material on Dylan's part, or even a deficient vocal style, but a combination of limitations such an ill-conceived setup placed on his ability to apply his usual vocal nuances, the inevitable by-product of his failure to use headphones.

Which is all a great shame. The Street-Legal songs themselves are some of the most thoughtful of Dylan's career. The lyrics have clearly been worked on long and hard, while the arrangements, some of Dylan's most elaborate, generally work well. Only No Time To Think fails as both a lyric (too damn clever by half) and an arrangement. Baby Stop Crying, a fairly simplistic rewrite of Robert Johnson's Stop Breaking Down, lacks a lyric but carries the album's best hook (a huge hit in Europe, it left cold an American pulic struck down with disco fever).
Is Your Love In Vain? was a little too up-front in its depiction of Dylan's unreasonable demands on any lady companion. And yet the album remains a personal favourite of many long-standing fans prepared to work at disentangling instrument from instrument, vocal from harmony vocal, rhyming scheme from ingenious act of assonance.

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Paul Williams

Dylan apparently recorded many of his rehearsals with the 1978 band, and a number of these tapes have fallen into the hands of collectors. The rehearsals from January and February 1978 contain some moving performances (with more dynamic interaction between singer and band than can be heard on tapes of the early concerts), among them You're A Big Girl Now, Repossession Blues (a Billy Lee Riley song, growled with surprising conviction), and a waltz version of If You See Her, Say Hello which like so many of these variations sounds flippant and soulless at first but ends up insinuating its way into the listener's mind and heart. There is also an interesting, disturbing take of Tomorrow Is A Long Time, Dylan sings a phrase or two of each verse with real feeling and then starts shouting the lyrics, turning them into melodrama, as if to fictionalize and deny the emotions he has just expressed.

Three holdovers from the Rolling Thunder Revue were hired for the 1978 band, Rob Stoner on bass, David Mansfield on violin and mandolin, and Steven Soles on acoustic rhythm guitar and vocals. Stoner left after the Far East leg, and was replaced by Jerry Scheff. The rest of the band were, Alan Pasqua on keyboards, Billy Cross on lead guitar, Bobbye Hall on congas, Ian Wallace on drums, Steve Douglas on saxophone, and Helena Springs, Jo Ann Harris, and Debbie Dye on backing vocals. Dye was replaced in April 1978 by Carolyn Dennis.

One rehearsal tape from April 1978 circulates: it includes particularly sweet performances of Simple Twist Of Fate, Ballad Of A Thin Man, and To Ramona, along with a moving fragment of a new song, one of several written by Dylan in collaboration with Helena Springs, Coming From The Heart (The Road Is Long). The richness of Dylan's vocal on this tape is striking, he has not backed off his new way of singing (it did not even sound like a new way of singing to me at first, just an awkwardness, a stiffness), but has patiently (stubbornly) stood by his original impulse, pushed forward with it to the point where it is starting to be a versatile and expressive instrument.

Shortly after this practice session, Dylan and his tour band recorded a new album of nine songs (one of which they had been performing live (Is Your Love In Vain?) at Rundown Studios, a rehearsal space Dylan had recently rented near the ocean in Santa Monica, California. It was Dylan's first studio album since Desire, recorded three years earlier; and the first batch of songs Dylan had written alone and then recorded since the Blood On The Tracks songs in 1974.

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THE BAND

Wikipedia

Jerry Obern Scheff (born January 31, 1941) is an American bassist, best known for his work with Elvis Presley in the 1970s as a member of his TCB Band and his work on The Doors' final recordings.

Scheff grew up in the San Francisco Bay area. After serving in the U.S. Navy he returned to California, ending up in Los Angeles as a session musician. After working at the Sands night club in Los Angeles with 16-year-old Billy Preston, Merry Clayton, and Don "Sugarcane" Harris, he played on his first hit record, The Association's Along Comes Mary (1966). That success led to other early record appearances with Bobby Sherman, Johnny Mathis, Johnny Rivers, Neil Diamond, Nancy Sinatra, Pat Boone, Sammy Davis Jr., Bobby Vinton, The Monkees, The Everly Brothers, and the Nitty Gritty Dirt Band. In 1971, he appeared on L.A. Woman, the final album recorded by The Doors with Jim Morrison, playing bass on every track.

In July 1969, Scheff became a member of Elvis Presley's touring TCB Band. With the band, he performed in concert with Presley from August 1969 to June 1973 and from April 1975 until Presley's final show on June 26, 1977 at the Market Square Arena in Indianapolis. He appears on Aloha From Hawaii (Elvis' 1973 live television concert), Back In Memphis, That's The Way It Is, Elvis As Recorded At Madison Square Garden, the documentary movie from 1972 Elvis On Tour, and Moody Blue, among others.

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Wikipedia

Billy Cross started as a professional musician in the United States in 1960 as a studio musician and helped produce many albums. He played briefly with the 50's nostalgia act Sha Na Na and played guitar in the Broadway show of Hair. He became the musical director of the National touring company of Hair in 1972. Cross also played in Jim Rado's after Hair show, Rainbow in NYC. He played guitar on Jobriath's two albums and was a member of his live band.

He first visited Denmark in 1974, giving concerts in Copenhagen and subsequently returned there often, although he worked with Bob Dylan and Meat Loaf at the time. Billy Cross was a member of Dylan's band from late 1977 to the spring of 1979 and took part in recording the live LP by Dylan in 1978, the live LP Bob Dylan at Budokan and the studio LP treet legal. He was also a member of the New York based trio Topaz that released one LP in USA in 1977.

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Wikipedia

Steven Soles is an American singer-songwriter, record producer, and guitarist.

Known also as J. Steven Soles, he was asked by Bob Dylan to join the band for his 1975-1976 Rolling Thunder Revue tour, and he also played with Dylan on Street Legal and the following tour, including the live album Bob Dylan at Budokan. When that tour ended, Soles and two other members of Dylan's band, T-Bone Burnett and David Mansfield, formed The Alpha Band. The band released three albums, The Alpha Band in 1977, Spark In The Dark in 1977 and The Statue Makers of Hollywood in 1978.

Like most of the musicians in The Rolling Thunder Revue, he appeared in the film Renaldo and Clara, in which Soles played the role of Ramon.

After the breakup of The Alpha Band, Soles released two solo albums, Promise in 1980, and 1982's Walk by Love, and went on to produce or perform on albums by Dylan, Burnett, The Washington Squares, Peter Case, Elvis Costello, Roger McGuinn, Don McLean, The Monkees, The 77s, Olivia Newton-John, Roy Orbison, Tonio K, Victoria Williams, Steve Scott and others.

He was part of the highly acclaimed Cinemax special Roy Orbison and Friends, A Black and White Night.

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Wikipedia

David Mansfield (born September 13, 1956) is an American violinist, mandolin player, guitarist, pedal steel guitar player, and composer.

Raised in Leonia, New Jersey, his first band was Quacky Duck and His Barnyard Friends, which also included two sons of Tony Bennett.

Bob Dylan asked Mansfield to tour with him on his 1975 Rolling Thunder Revue tour; he remained in Dylan's band through their 1978 world tour.

After the Revue ended in 1976, Mansfield and two other members of Dylan's band, T-Bone Burnett and Steven Soles, formed The Alpha Band. The band released three albums, The Alpha Band in 1977, Spark In The Dark in 1977, and The Statue Makers of Hollywood in 1978.

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Wikipedia

Alan Pasqua (born June 28, 1952 in New Jersey) is an American jazz pianist, educator and composer. He co-composed the CBS Evening News theme. He has also had an extensive career in pop and rock music, most notably as a founding member, keyboardist and songwriter of the 1980s hard rock band, Giant.

He studied at Indiana University and the New England Conservatory of Music. His album Standards, with drummer Peter Erskine, was nominated for a Grammy award. As a session musician he has toured and recorded with Bob Dylan, Cher, Michael Bublé, Eddie Money, Allan Holdsworth, Joe Walsh, Pat Benatar, Rick Springfield, Prism and Santana among many others. He was also a founding member of the late-1980s rock band Giant, and he co-wrote the band's biggest hit, I'll See You in My Dreams.

Pasqua, a Steinway piano artist, joined The New Tony Williams Lifetime and appeared on the albums Believe It and Million Dollar Legs. He then went on to perform with Eddie Money's band, after which he then joined Bob Dylan's band. Pasqua recorded two albums with Dylan (Bob Dylan At Budokan and Street-Legal). In the 1980s he performed with John Fogerty on the album Eye of the Zombie, with Starship on the album No Protection, with Allan Holdsworth on the album Sand, and joined Carlos Santana as keyboardist on Marathon, Zebop! and Havana Moon.

Later he composed and performed jazz, including trio recordings with Peter Erskine (including the Grammy nominated CD Standards). He has also recorded with Allan Holdsworth and played keyboards on Marathon (Santana album) released September 1979.

He is currently Professor of Jazz Studies at the University of Southern California.

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Obituary, New York Times, 22 April 1993

Steve Douglas, a saxophonist who worked with Phil Spector, played on albums by the Beach Boys and toured with Bob Dylan and Eric Clapton, died on Monday at a Hollywood recording studio. He was 55 and lived in Petaluma, California. The cause was heart failure, said Don Randi, a friend and fellow musician. He said Mr. Douglas collapsed during a recording session with Ry Cooder.

Mr. Douglas, whose original name was Steven Kreisman, worked with Mr. Spector as one of "Phil's Regulars," a group that included Sonny Bono on percussion, Glen Campbell on guitar and Leon Russell on keyboard. He played the blues with Duane Eddy and the Rebels at the Apollo Theater in Harlem in 1958, and with Elvis Presley on the set of the film Girls, Girls, Girls! in the early 1960's. Mr. Douglas grew up in Los Angeles, where he studied trumpet, trombone and violin and taught himself to play the saxophone at age 15. His first job as a saxophonist was with Mr. Spector. Over the years, Mr. Douglas played with Sam Cooke, B. B. King, Frank Sinatra, Barbra Streisand and Stevie Wonder. He also worked on the soundtracks for such movies as Fast Times At Ridgemont High and One Flew Over the Cuckoo's Nest.

He is survived by his wife, Jeanette; a daughter, Pamela; his mother, and a sister, Carolyn.

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Wikipedia

Ian Russell Wallace (29 September 1946, 22 February 2007) was an English rock and jazz drummer, most visibly as a member of progressive rock band, King Crimson, a member of David Lindley's El Rayo-X and as Don Henley's drummer.

Wallace formed his first band, The Jaguars, at school, before going on to join The Warriors with Jon Anderson in his pre-Yes days. (Wallace later played with Yes once in November 1968 during Bill Bruford's hiatus from the band). From The Warriors, Wallace went on to join Big Sound. In the 1960s, Big Sound worked in Denmark, Norway and Sweden as a backing band to Danish rock musician Nalle. The Big Sound and The Warriors had been mates, and had gigged together in the Storyville Club, Frankfurt, Cologne and Copenhagen. The Big Sound's drummer and bass player left, after which Ian and The Warriors bass player, Dave Foster, joined the band. When the Big Sound split at the end of 1967 during a tour of Norway, some members, including Wallace, moved to London to back other artists such as Sandie Shaw, David Garrick, Marv Johnson and Lou Christie.

Wallace later joined Vivian Stanshall's BiG GrunT, and then The World with Neil Innes before King Crimson. He appeared on the album, Islands in 1971, and on the live album, Earthbound in 1972, as well as a number of later archival releases. In May 1972, at the end of a U.S. tour, he and fellow Crimson members Mel Collins and Boz Burrell left the band and went to work for Alexis Korner's Snape.

Wallace subsequently worked with Steve Marriott's All-Stars and was invited to join Bob Dylan's band in 1978 and accompanied Dylan during his tour of Japan. Wallace's heavy drum style was the driving force behind the pop-heavy album Street-Legal. He toured again with Dylan in the early 1990s. In 1978 he also worked briefly with Foreigner subbing some dates after their regular drummer, Dennis Elliott, injured his hand.

Other notable work includes Ry Cooder in 1979 and Don Henley in the 1980s and 1990s. Wallace's studio and live credits also include El Rayo-X with David Lindley, Bonnie Raitt, Joe Walsh, Bob Dylan, Johnny Hallyday, Keith Emerson, Roy Orbison, Jackson Browne, the Traveling Wilburys, Eric Clapton, Jon Anderson, Alvin Lee, Crosby, Stills and Nash, the Quireboys, Brian Eno, Larry Coryell, Stevie Nicks, Lindsey Buckingham, Steve Marriott, Al Kooper, Tim Buckley, Lonnie Mack, Procol Harum (1993 tour), and Warren Zevon.

Following a move to Nashville, Tennessee in 1998, Wallace worked as a producer and player. Among his later studio recordings there were sessions with Kim Richey, Tim Krekel, Rick Vito, Dean Dillon, Rosie Flores, Jessi Alexander, producer Gary Nicholson, Steve Ripley, Jan Pulsford, Tim Hinkley, Charlie Taylor, Rodney Crowell and the legendary songwriter Dan Penn. He also performed live with T. Graham Brown, the Nashville Chamber Orchestra, Rick Vito, Jessi Alexander, and Billy Burnette, the latter in a quartet that included bassist Dave Roe (Johnny Cash) and Kenny Vaughan (Lucinda Williams).

In 2003, he joined the 21st Century Schizoid Band, and released his only solo album, Happiness With Minimal Side Effects. In 2005 he formed the Crimson Jazz Trio with Tim Landers on bass and Jody Nardone on piano, which released King Crimson Songbook Volume One in November 2005 and King Crimson Songbook Volume Two in early 2009.

On 10 August 2006, Wallace was diagnosed with esophageal cancer. He chronicled his illness in his online blog in the hope his story would encourage others with similar symptoms to pursue treatment. He died, aged 60, with his wife, Marjorie Pomeroy, at his side.

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Wikipedia

Bobbye Jean Hall was born in Detroit, Michigan, and began her career there playing percussion in nightclubs while still in her teens. Using bongos, congas and other percussion, she played uncredited on many Motown recordings. She lived in Europe for a few years then moved to Los Angeles where she was one of the few female session musicians in a male-dominated profession, a sometime associate of The Funk Brothers. Already a veteran player by May 1971, she added her bongo skills to Marvin Gaye's Inner City Blues (Make Me Wanna Holler). Her first studio gig behind a full rock drum kit was with Chris Ethridge on his album L.A. Getaway. Ethridge said "she was great".

Hall recorded several albums with Bill Withers, including his #1 hit Lean On Me, and an album recorded live at Carnegie Hall. She toured with Carole King in May–June 1973 after having participated on two of King's studio albums. In May 1974, she performed again at Carnegie Hall, this time backing James Taylor, a follow-up to appearing on two of his albums. Stevie Wonder used Hall's percussion skills for a few songs in 1974 and 1976, including Bird Of Beauty where her artful quica work established a mood of Brazil at Carnival.

In 1973-1974, Hall began to be credited sometimes as Bobbye Hall Porter, also Bobbye Porter Hall, after her marriage to record producer Joe Porter. Hall released one album of her own in March 1977: Body Language For Lovers, a soul-jazz instrumental work featuring tunes co-written by her and her husband. Billboard recommended the LP, but it did not chart.

In 1978, Bob Dylan took her on a world tour, from mid-February to mid-December, paying her $2,500 per week about $9,100 in today's dollars. This handsome compensation was arranged to pay for the studio sessions she would be missing. The men and women appearing on stage with Dylan were required to wear costumes designed in Hollywood by Bill "Spoony" Whitten, and the musicians did not like them. Lead guitarist Billy Cross said "the band looked like a large aggregation of pimps", and backup singer Debi Dye-Gibson said she and the other women "looked like hookers". The show's playlist was a collection of Dylan's greatest hits, as specified by promoters at the tour's Japanese stops. All the songs, even the sparse acoustic ones, were arranged for a full band and a big sound. Hall and the musicians stayed at the best hotels side-by-side with Dylan, and flew on a chartered jet airliner which held suites and a bar. Hall joined Dylan from time to time at dinner, and was surprised to find him a longtime fan of soul food. she observed him to be "infatuated by going out with black women ...by that whole black thing, [even] eating the food." He entertained her with card tricks. However, the tour began to wear on him, and he called band meetings where he criticized his musicians sharply for being too formulaic. Hall remarked of these encounters, "when he spoke to us, he was not the poet." A two-disc album was produced using 22 songs recorded live in Japan: Bob Dylan at Budokan, and a stop in Santa Monica, California, allowed Dylan and most of the touring band to cut a studio album, Street-Legal, with Hall on percussion.

In late August 1978, in between Dylan tour dates, Hall played congas for Tom Waits's Blue Valentine album, on the track Romeo Is Bleeding, giving it a gritty Latin feel. In 1979, she recorded The Wall with Pink Floyd. She recorded with Bob Seger's Silver Bullet Band in the early 1980s. Hall joined Stevie Nicks for her album Bella Donna and toured with her in 1982 and 1986. For the 1986 film Little Shop Of Horrors, Hall played tambourine and congas on the soundtrack.

Other musicians she has recorded for include Kim Carnes, Lynyrd Skynyrd, Janis Joplin, Tavares, Randy Newman, Rod Stewart, Dolly Parton, Mel Brown, Leo Sayer, Cecilio & Kapono, Russ Ballard, Donovan, Joni Mitchell, Jerry Garcia, Patti Scialfa, Freda Payne, Dwight Yoakam, Donald Byrd, Gene Harris, Bobby Hutcherson, Grant Green, Ferron, Poco, The Temptations, Mary Wells, Jefferson Starship, Kenny Rankin, The Manhattan Transfer, Stanley Turrentine, Boz Scaggs, Marc Bolan, Judy Mowatt, Hugo Montenegro, Aretha Franklin, The Doobie Brothers, Kris Kristofferson, Smokey Robinson, Diana Ross, Al Kooper, The Jeff Healey Band, The Doors, Robin Zander, Lone Justice, The Mamas & the Papas, David Byrne, Marty Balin, Sarah Vaughan, Tommy Bolin, Ozark Mountain Daredevils, Harry Chapin and Tracy Chapman.

She has recorded as percussionist and drummer using the following instruments: bongos, congas, tambourine, claves, quica, wood block, tabla, full drum kit, tom-toms, cabasa, maracas, cowbell, bells, shaker, güiro, triangle, hand claps, finger snaps[1] and finger cymbals.

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Wikipedia

Carolyn Dennis (born 1954), sometimes known professionally as Carol Dennis or Carol Dennis-Dylan, is an American singer and actor best known for her work with and marriage to Bob Dylan.

Dennis has also sung back-up for Wonderlove, The Carpenters, Kenny Loggins, Bruce Springsteen, and Michael Jackson's HIStory: Past, Present and Future, Book I. In 1982, Dennis performed the role of Poppea in a modern adaptation of Monteverdi's L'Incoronazione di Poppea (The Coronation of Poppea) at Xenon Discothèque in New York City. She was the singing voice for the 1991 made-for-television movie The Josephine Baker Story starring Lynn Whitfield as Josephine Baker. Dennis was also part of the performance group The Young Americans.

Dennis and Dylan have a child, Desiree Gabrielle Dennis-Dylan, born on January 31, 1986. They married in June 1986; Dennis was Dylan's second wife. The couple divorced in October 1992.

Their marriage and parenthood was completely unknown to both Dylan's fans and the media until the 2001 publication of Down the Highway: The Life Of Bob Dylan by Howard Sounes. Dennis is quoted as saying, "I have three children, but I'm not going to say which ones are Bob Dylan's." Dennis, according to her spokesman, had made a pact with her children not to publicize their paternity. "Bob Dylan has eight or nine children," Dennis says. "We're not trading on that."





***
 Rundown Studios
Santa Monica, California, USA
April 1978

Jerry Scheff Audition

1.We Better Talk This Over
2.I Threw It All Away
3.Maggie's Farm
4.Ballad Of A Thin Man
5.Simple Twist Of Fate
6.To Ramona
7.If You See Her, Say Hello
8.I Don't Believe You (She Acts Like We Never Have Met)
9.Love Minus Zero/No Limit

Bob Dylan (guitar & vocal), Billy Cross (guitar), Steven Soles (guitar & vocals), David Mansfield (violin & mandolin), Steve Douglas (saxophone), Alan Pasqua (keyboards), Jerry Scheff (bass), Ian Wallace (drums), Bobbye Hall (percussion), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).
LB-2801; The Rundown Rehearsal Tapes (White Bear / 009-010-011-012)

Very good to excellent sound [B+].

***

Rundown Studios
Santa Monica, California, USA
1 May 1978

5th Street-Legal session, produced by Don DeVito.
10.Coming From The Heart (The Road Is Long) (Bob Dylan & Helena Springs)
11.Stop Now (Bob Dylan & Helena Springs) [fast version]
12.Stop Now (Bob Dylan & Helena Springs) [slow version]

Bob Dylan (guitar & vocal), Billy Cross (guitar), Steven Soles (guitar), Steve Douglas (tenor saxophone), Alan Pasqua (piano), Jerry Scheff (bass), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bobbye Hall (tambourine) on Stop Now [fast version]
Alan Pasqua (organ) on Coming From The Heart (The Road Is Long)
Steven Soles (vocal) on Coming From The Heart (The Road Is Long)
David Mansfield (violin) on Coming From The Heart (The Road Is Long)
David Mansfield (mandolin) on Stop Now [fast and slow versions]
Bobbye Hall (congas) on Stop Now [slow version]
LB-6622; Genuine Bootleg Series Take 2 (Scorpio / GZ H21975-H2202-H21930)

Coming From The Heart (The Road Is Long)
Stop Now [slow version]

LB-6621; Genuine Bootleg Series (Scorpio / 94-14-01/02/03)

Stop Now [fast version]

***

Universal Amphitheater
Los Angeles, California, USA
1 June 1978

13.Rainy Day Women # 12 & 35
14.You're A Big Girl Now
15.One More Cup Of Coffee (Valley Below)
16.The Man In Me

First concert of the 1978 Los Angeles residency. 1978 concert # 24.
First concert with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Rainy Day Women #12 & 35 instrumental without Bob Dylan.
LB-11613; Taper: Mike Millard; first gen via JEMS
; The Lost and Found Mike the MICrophone Tapes Vol. One
; Equipment: AKG 451E mics (CK-1 capsules) > Nakamichi 550

JEMS 2014 ; Transfer: first-generation reel copy (3-3/4 IPS) made by Mike Millard for SG > Otari 5050 mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX3 > Peak 6.0 with iZotope Ozone 5 (pitch correction) > iZotope RX MBIT+ resample 16/44.1 >  Peak Pro XT (indexed) > xACT  2.2.1 > FLAC

Excellent sound [A].

***

Universal Amphitheater
Los Angeles, California, USA
3 June 1978

17.Mr Tambourine Man
18.Shelter From The Storm
19.Maggie's Farm
20.I Don't Believe You (She Acts Like We Never Have Met)
21.Señor (Tales Of Yankee Power)
22.Masters Of War
23.Just Like A Woman
24.To Ramona
25.All I Really Want To Do
26.The Times They Are A-Changin'
Third concert of the 1978 Los Angeles residency. 1978 concert # 26.
Third concert with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on Just Like A Woman.

LB-11634; Taper: Mike Millard; The Lost and Found Mike the MICrophone Tapes Vol. Two

 (JEMS BK); Mike Millard first generation tape; Equipment: AKG 451E mics (CK-1 capsules) > Nakamichi 550

JEMS 2014; Transfer: first-generation reel copy (3-3/4 IPS) made by Mike Millard for SG > Otari 5050 mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX3 > Peak 6.0 with iZotope Ozone 5 (pitch correction) > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (Indexed) >
xACT 2.21 > FLAC Excellent sound [A-].

***

Universal Amphitheater
Los Angeles, California, USA
4 June 1978

27.Knockin' On Heaven's Door
1978 Los Angeles residency concert # 4. 1978 concert # 27.
Concert # 4 with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-7468; Compiler: Les Kokay (LK); from LK 78 set

Good sound [B].

***

Universal Amphitheater
Los Angeles, California, USA
5 June 1978

28.It Ain't Me, Babe

1978 Los Angeles residency concert # 5. 1978 concert # 28.
Concert # 5 with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Only electric version of It Ain't Me, Babe during the 1978 World Tour.

BobTalk

OK, we're gonna go now. We got some place to be. But you have a safe trip home. Here's another song I recorded with The Band. (Shouts from the crowd). What is that? I can't understand that. It Ain't Me Babe. We'll try it! (plays It Ain't Me Babe) Thank you! All right! Now, we gotta get out of here this time. You're a real good audience.

LB-0227; xref-01354

Good sound [B].

***

Universal Amphitheater
Los Angeles, California, USA
6 June 1978

29.Is Your Love In Vain?

1978 Los Angeles residency concert # 6. 1978 concert # 29.
Concert # 6 with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

BobTalk

All right. We're gonna take a break after this. I'd like to say hello to Richard Manuel, who's here. And Racquel Welch. (before Going, Going, Gone)

LB-7479; Compiler: Les Kokay (LK); from LK 78 set

Fair sound [B-].

***

Universal Amphitheater
Los Angeles, California, USA
7 June 1978
30.A Hard Rain's A-Gonna Fall 
31.Love Her With A Feeling (Tampa Red)
32.Baby Stop Crying
33.Love Minus Zero / No Limit
34.Tangled Up In Blue
35.Ballad Of A Thin Man
36.Like A Rolling Stone
37.I Shall Be Released
38.Going, Going, Gone
39.One Of Us Must Know (Sooner Or Later)
40.Blowin' In The Wind
41.I Want You
42.Don't Think Twice, It's All Right
43.Simple Twist Of Fate
44.Oh, Sister (Bob Dylan-Jacques Levy/Bob Dylan)
45.All Along The Watchtower
46.Band Intro
47.It's Alright, Ma (I'm Only Bleeding)
48.Forever Young

1978 Los Angeles residency concert # 7. 1978 concert # 30.
Concert # 7 with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

A Hard Rain's A-Gonna Fall instrumental without Bob Dylan.

Bob Dylan (harmonica) on: Love Minus Zero / No Limit,
Simple Twist Of Fate. BobTalk

Thank you. Thank you very much. You're looking good. This is another song from the forthcoming album. Like I said this one should be out by Christmas. This is called Tales Of Yankee Power. Thank you so much. I'd like to say hello to Joni Mitchell tonight, who's in the crowd somewhere. Maybe you can find her with that spotlight? And Tom Petty is here. He's a new rising star. Rock n Roll! I'd like to say hello to him too. And I think Racquel Welch is still here! Stand up Racquel! I think a whole lot of this band and I wanna introduce them to you now. My favorite band is a band I saw play with Bobby Blue Band, 1968 I recall in New York. And this band comes as close to that band as I can find. So, on the drums, Ian Wallace. From Barbados, on the keyboards, Alan Pasqua. On the bass guitar, Jerry Scheff. On the rhythm guitar, the loner of the group, Mr. Steve Soles. On the violin and the mandolin, steel guitar, the baby of the group, very young, David Mansfield, on the tenor saxophone, Mr. Steve Douglas. On the conga drums Bobbye Hall. So, the female vocalists, background vocalists. Girls that make me cry every night, all night! Carolyn Dennis, Jo Ann Harris and Helena Springs! On the lead guitar, Billy Cross. This is called It's Alright Ma, I'm Only Bleeding.

Thank you. Well, like Jerry Garcia would say. We're gonna beat it on down the line. Well, we hope you had a good time. We think these songs do mean something to you. So, have a real safe trip home. We're gonna be out of the country for awhile, though we'll be back from far distant lands, so I hope we see each other again sometime. (before Forever Young).

LB-11720;
Taper: Mike Millard (MM);
The Lost and Found Mike the MICrophone Tapes Vol. Four
First gen via JEMS
;
Tape B; Transfer: JEMS 2014; Equipment: Nakamichi CM-50 microphones > Uher CR-240 cassette recorder

; first-generation reel copy (3-3/4 IPS) made by Mike Millard for SG > Otari 5050 mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > pitch correction > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (volume smoothing / edit / index) > xACT 2.21 > FLAC



Excellent sound [A-].

***

Rock on, Bob!

XXX

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