1 Bright Eyes 3:56 2 Break Away 3:35 3 I Believe (When I Fall In Love It Will Be Forever) 3:48 4 Disney Girls 4:32 5 Miss You Nights 3:45 6 She Moved Through The Fair 3:44 7 Scissors Cut 3:52 8 Since I Don't Have You 3:38 9 Watermark 2:53 10 (What A) Wonderful World 3:29 11 When A Man Loves A Woman 4:29 12 Looking For The Right One 3:21 13 I Only Have Eyes For You 3:38 14 Crying In The Rain Featuring [Duet With] – 3:39 15 Another Lullaby 3:30 16 99 Miles From L.A. 3:30 17 A Heart In New York 3:11 18 Saturday Suit 3:17 19 Why Worry 5:33 20 Crying In My Sleep 3:58.

Well, I really need to have a sit down with myself and complain, turns out I missed a few Flat releases. Side 1: He was a friend of mine Man on the street (take 1-false start) Hard times in New York Man on the street (take 2) Talkin’ Bear Mountain massacre picnic blues Standin’ on the highway Poor boy blues Ballad for a friend Ramblin’ gamblin’ Willie Side 2: Talkin’ John Birch Paranoid blues Long time gone Long ago, far away Let me die in my footsteps Bob Dylan’s blues Masters of war Bound to lose, bound to win Baby let me follow you down Farewell bobsboots wrote: “Here is a classic. Anyone else would’ve taken two LP’s for this much material.

In 1977, though, FLAT Records knew how to give you your money’s worth. Nice looking brown on yellow insert is the one and only image of Dylan by Linda McCartney [ the one and only photo session, there were clearly more pictures taken]. She always regreted not taking more. Labels are stamped ‘side one’ and ‘side two’. Sources are missing! A near perfect score for this early effort. The sources are: Side 1) Leeds demos 1962.

Side 2) Witmark demos 1962 / 63 ” 1962 – January John Hammond arranges a deal with music publishing company Leeds Music. A number of Dylan’s new songs are recorded as for them. These are known as the “Leeds Music Demos” Some of the Leeds demos and all of side 2 has now been officially released as The Bootleg Series, Vol. 9: The Witmark Demos: 1962-1964 Another photo from the session shot by Linda McCartney in 1970.

The cover shows them on stage at Chicago’s Universal Amphitheater at the start of their last ever tour on August 11, 1966. The Munich Zirkus Krone recording from June 24, 1966 [Hot Wacks mis-identifies the source as the Hamburg show] had first been released on this early Contraband LP in 1972. As the material was not broadcast on German TV between July 5 1966 and August 1983, someone must have held on to their off-air recording for all these years. Supposedly, this was the first version of the insert with this type of track list (and no CBM number) perhaps added via a stamp. The specific title label would also indicate a first pressing. Side 2 has Shindig 1964 and The Smothers Brothers Comedy Hour 1968 performances.

In Japan, the MARC label dedicated an EP to the material: Some background info on the available video material. German TV channel ZDF paid 40,000 DM for the broadcasting rights and produced a 43 minute b&w feature, shot with four cameras. Although the above 15 minutes Beatles segment looks as if it came from the same performance, this is not the case. Baby’s In Black, I Feel Fine and Yesterday are from the afternoon show and the rest from the evening show. How can you tell? The tall curved broadcasting microphone hanging over Ringo’s kit (and giving us that cymbal saturated sound ) is to his right during the evening show and to the left during the afternoon. Also the Vox organ on John’s side had been moved further away to the edge of the stage for the evening show.

Overall, the afternoon show has better sound. I’m Down has been edited down by removing a verse. Battle Gear 2 Ps2 Iso Free. Overall, out of 60 minutes or a bit less (both shows) just 15 minutes survived the cutting room. [I interned at ZDF in 1989, talk about a missed opportunity.]. Woolman Rink, Central Park, New York, NY – August 29, 1975 Set list, bold titles are on the LP: (64:20) Introduction, Walking The Dog, S.O.S.

Simply the Best is the fourth compilation album by Art Garfunkel, released in 1998. The album features the majority of his hit songs. Track listing[edit]. 'Bright Eyes' (Mike Batt) – 3:56; 'Break Away' (Benny Gallagher, Graham Lyle) – 3:35; 'I Believe (When I Fall in Love It Will Be Forever)' (Stevie Wonder, Yvonne Wright) – 3:.Missing. 20 of his finest solo recordings, including 'Bright Eyes' & the U.S. Chart hits 'Since I Don't Have You', 'Break Away','A Heart in New York', 'I Only Have Eyes for You' and '(What A) Wonderful World' with James Taylor & Paul Simon. Track Listings. I Believe (When I Fall In Love It.

(Too Bad), Somebody, Big Ten Inch Record, Sweet Emotion, Dream On, Write Me A Letter, Walk This Way, No More No More, Same Old Song And Dance, Train Kept A Rollin’ (Slow), Drum Solo, Train Kept A Rollin’ (Fast), Toys In The Attic Aerosmith’s performance in Central Park 1975 was part of the Schaeffer Music Festival and was the source for a King Biscuit Flower Hour FM broadcast. This is probably the most booted show from this era and for good reason. It is no doubt the best sounding document to surface from the early years and comes before their performances were marred by the excesses of their lifestyle. The band delivers an incredible performance all around and are supporting their latest LP Toys In The Attic, released in April. The many previous releases contained a variety of different selections from the performance and all issues to CD and vinyl were incomplete. The show first surfaced on the vinyl releases Look Homeward Angel (ZAP 7868 and its reissue on Fantasy Disco P7868) and Rock This Way (TKRWM 1812) and were all largely incomplete.

Re-issue as TAKRL 907: Fantasy Discos version [we first encountered this label under Patti Smith – Canine Teardrops / Teenage Perversity And Ships In The Night. These are very similar in appearance to the Berkeley label titles (see the previous Led Zeppelin Kashmir entry) but were probably not made by Ken]. And a 4th life for this cat as the TKRWM album rock this way. Different tracks were selected for side 2: Side 2: Walk This Way No More No More Same Old Song And Dance Toys In The Attic.

Allmusic.com complaints: “In the 1970s, carelessness wasn’t uncommon among bootleg labels, some of which infuriated collectors by providing incorrect recording dates or not providing recording dates at all. Unfortunately, Ze Anonym Plattenspieler (a major 1970s bootlegger) doesn’t bother to tell you exactly where this bootleg LP was recorded. Was On Stage in Europe 1975 recorded in Paris? The answer is Earl’s Court in London on May 24 of that year. This LP is actually a reissue of the Europe Records bootleg Earl’s Court, which the equally illicit Berkeley label reissued as Kashmir in 1976. And because ZAP knew exactly where and when these performances were recorded, there was no excuse for not providing that information. At any rate, On Stage in Europe 1975 only contains about half of the Earl’s Court show — Europe Records released the other half on a bootleg titled Earl’s Court II.

This bootleg offers very good, if imperfect, stereo sound, and the LP’s highlights range from “Going to California,” “That’s the Way,” and “Tangerine” to the Physical Graffiti favorite “Kashmir.” Meanwhile, the haunting, jazz-influenced “No Quarter” is stretched out to 22 minutes — a long-winded performance, but because Zep’s creativity is at such a high level, one can easily forgive the band’s excesses. What isn’t so easy to forgive is ZAP’s sloppiness. Would it have been so difficult for ZAP to tell you that this LP was recorded at Earl’s Court on May 24, 1975?” As Japan JL copy # 536 above. The Berkeley re-issue (copy?): The original: EARL’S COURT EUROPE LZL 19775 Side 1: No Quarter (22:00)/Tangerine (5:00) Side 2: Kashmir (9:06)/Going To California (5:02)/That’s The Way (7:43)/Woodstock (5:02 – an excerpt from the “Dazed And Confused” medley) Recording: Very good stereo soundboard. Source: Earls Court Exhibition Centre, London, England May 24 ’75. Comments: European bootleg with full color cover. Song separation.

Business Everywhere Windows 7 Huawei E1752 there. *** Finally, on Vicky Vinyl’s Idle Mind label – where special thanks were given to J. After a rejected first attempt at an album master, Glyn John’s went to work again in May of ’69 and came up with the definitive Get Back album.

Ken’s version The first releases were in poor quality but improved quality releases soon began to appear with such titles as Next To Last Recording Session [Ken], Get Back Sessions [Dub] and The Very Best Of The Beatles Rarest Number Six [Ken again]. Labels such Trademark Of Quality and Wizardo led the way with the new releases. The earliest that I can definitively trace the acetate source is 1977 on The Very Best Rarest Number Six (TKRWM). For whatever reason, many of the early releases began Side 1 with “Rocker” and “Save The Last Dance For Me” while placing “The One After 909” at the end of Side 1. Also, “Rocker” was usually faded in, eliminating the tape start-up at the beginning.

This appears to be the doings of the bootleggers. Sometime in the mid 1970s, Wizardo released the compilation with an appropriate cover.

The cover was black and white but it was an authentic cover design for Get Back (actually Let It Be). Thus, this marked the first, remotely appropriate, representation of Get Back [so far, this does not look like a Wizardo release to me]. I cannot determine if this release was sourced from the acetate or the tape.”. 15, 1966 – ‘Klooks Kleek’ London, England Steppin’ Out, Sweet Wine, Meet Me In the Bottom [listed as “Lost Love”], N.S.U., Hey Lawdy Mama [listed as “Big Mama Blues”], Sleepy Time Time, Crossroads (35 min) Importance: 5, Music: 5, Sound: 3 Review from a Cream bootlegs site: ” “Klooks Kleek” was a club in the “Railway Hotel”, Hampstead, London.

It was a popular venue on the performance circuit because of its blues aware audience. On Tuesday 15 th November, Cream performed and was recorded there. John Platt claims that it may have been an ‘official’ attempt to record a live album.

Based on the available bootleg, it was an amateurish effort, if that story is true. It is reasonably recorded, considering the era, but the mikes were continuously ‘clipping’. The engineer was also varying the volume controls to handle the volume. The stacks were turned up high! Balance is good with only the vocals slightly distant. The recording appears to be of the end of their first set and the start of their second. Eric’s Les Paul/Marshall stack sound and playing is mature ‘Bluesbreaker’.

Jack and Ginger are relatively restrained, compared to later performances, and can be accurately described as a ‘rhythm section’ for this performance. An important recording that shows that ‘Fresh Cream’ quite successfully captured their live performance of 1966. Stepping Out (Bracken) 5.13 The opening number is close to the ‘Bluesbreaker’ album performance. The Les Paul/Marshall stack sounds magnificent even without the tonal density of the overloaded combo. The major difference is the lithe and flexible rhythm section. Sweet Wine (Baker/Godfrey) 4.19 This shows how closely the studio version captured the live performance. Eric includes a feedback loaded passage in his fine solo.

Meet Me in the Bottom (Brownie McGhee) 4.25 Their only known recording of this blues. A clear example of their beat shuffling approach that could give a routine blues a unique tilt. Jack in shout mode.

NSU (Bruce) Closes the 1 st set and LP side. Well reproduced in the studio but, like Sweet Wine, more of a pop performance. During the guitar solo the nascent blowing elements are present. Hey Lawdy Mama (Junior Wells) 3.03 Eric introduces it as a Junior Wells song and it follows his arrangement. Probably the best available version. Sleepy Time Time (Bruce/Godfrey) 6.41.

This is given an extended work out. The 1968 live recording shows only a modest development of the arrangement. A fine performance all round with Jack still developing his vocal technique.

Crossroads (Robert Johnson/ arr. Clapton) The LP opens with Clapton’s Bluesbreaker opus and now closes with the song that was to become his Cream opus. The arrangement is complete and it was the technical development of the band, collectively and individually, that was to bring the masterpiece to finalisation.” Contraband offered the same material as sides 1 & 2 of this set: Lovely design but ****ty sound (Hot Wacks: “Horrible mono” – compared to “Vgs” for the ZAP LP).

Still, I do have a soft spot for CBM titles and will try to cover all of them in the future and pinpoint the release dates of their output. Attributing this to Amsterdam was just something CBM had made up.