The Faces - John Peel Show, England 1970-06-25 FM (Bootleg)

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FM Broadcast

The Faces were Peel’s favourite band in the first half of the 1970s and he appears to have enjoyed their goodtime approach both musically and socially. As well as “playing” mandolin with the band on Top Of The Pops in 1971, the DJ invited them all to his wedding three years later. In subsequent decades, he continued to cite the Faces’s April 1973 gig at Sunderland Locarno as the best he ever attended.

In 1987, Peel discussed the special attraction of The Faces for him with producer John Walters in the third programme of the Peeling Back The Years series:

Faces - German Single 1970

JW: One band that we have not mentioned in this pre-punk programme that were great favourites of yours and certainly brought you back quite sensibly to good old rock and roller’s enjoyment – and that was the Faces ... They were a band of lads. They’d been the Small Faces, Rod the Mod, all people that were seen – and I remember this very clearly because time changes – in the early ‘70s they were all seen as played out, frankly.

JP: Yes, yes.

JW: “No, not that lot again!”

JP: Well, that was very much my attitude. But as I say, I met them and you and my wife at around the same time – all people with very different attitudes to mine, much more realistic attitudes I think than I had. And I met the Faces backstage at a gig in Newcastle City Hall. And I can’t remember who else was on the bill – I think the Nice were, oddly enough. But anyway, they had a dressing room and I was sitting in – I didn’t have a dressing room – and there was a phone booth backstage and I was sitting in that thinking beautiful thoughts. I mean, genuinely thinking beautiful thoughts, in as far as I was capable of doing that. 

John Peel's Rare Album - Front Cover 1970

And they came and flung the door open and said, “Hello, John, mate, how’s it going, squire?” You know, “Come on, let’s have a drink.” And I didn’t drink at the time at all. And as they went away, my first reaction was, “Dear, oh dear, what dreadful rowdy people.” And then I saw them disappear into their dressing room that was full of scantily clad women and so forth and the sound of breaking glass and curries being flung against walls and so on, and I thought to myself, “Actually, these people are having a much better time than I am,” you know.

JW: So that rather implies that you were attracted socially as a bit of relief. What about the musical side?

JP: Well, because it was – I mean, the music exactly defined the band, you know. There was no sort of pretence in there at all. And I suppose I just got fed up – and as I say, it came about at the same time as I started to work regularly with you and meeting the pig, whose background was vastly different to mine, and as I say, much more rooted in reality. And I just, the Faces for me recaptured the kind of feelings I’d had when I first Little Richard and people like that and Jerry Lee Lewis, in the same way as the Undertones were to a few years later.

Japan Single 1970

John Peel's Archive Things Album, BBC 1970
An LP entitled John Peel's Archive Things was issued by BBC Records in 1970, with a selection of the most popular archive tracks he had played during the show's run, and sleevenotes in which he expressed an enthusiasm for a free-form radio format in which anything might happen. But Peel never again presented such an adventurous programme; the BBC's tight programming schedules made free-form radio impossible and most of the American "underground" FM radio stations which had introduced such open formats gradually turned into commercial stations playing "album-oriented rock". A 1970 article in International Times on censorship in the BBC even suggested that Peel was now working under a "special contract", which forbade him from expressing his opinions on non-musical matters during his shows.

According to Ken Garner's The Peel Sessions , Peel's Night Ride show grew out of an idea by producer John Muir for a "non-needletime" programme drawing on the BBC's store of archive recordings from around the world. This meant that not only were the shows cheaper to produce, but that they also reflected the hippy era's growing interest in exotic cultures.

Faces Billboard November 1970
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As Peel remarks in the album notes, there was a positive audience response to some of the "Archive Things", as he called them, so a selection of the most popular pieces appears on the LP. However, Night Ride ended in autumn 1969 and this album was issued in the following year, so there was little chance of it finding airplay on other, more conventional Radio One programmes. In 1970 BBC Records was a small-scale, non-commercial enterprise which did not publicise its releases to any great extent, and "world music" as a popular genre did not exist; so the LP was condemned to obscurity.

The LP was enthusiastically reviewed by Richard Williams in Melody Maker (clipping from grang354 collection - date unknown). Williams claimed that Night Ride "was vastly more adventurous and far more rewarding than Top Gear, because it took us into new, unfamiliar realms of music which, like travel, truly broadened the mind". The album "teaches us the international communication and universal beauty of music, and in many cases it provides clues to music's earliest history. Anybody who can see beyond Cream/Taste/Zeppelin can't fail to enjoy it, and get something out of it"

Peel himself commented on the release of the album in his column for Disc & Music Echo of 1970-06-20 (many thanks to Peel Mailing List member Mick for this information): "If you can recall the Wednesday "Night Ride" I used to help with, then you'll remember the curious things from the BBC archives that were played. Some of the best are gathered together on BBC Radio Enterprises REC 68M which will be easily as hard to get hold of as the "Top Gear" LP was. It's called "Archive Things" and is quite a laugh--brings back memories of a programme that I still miss a lot."

Faces 
June 25, 1970
Paris Theatre
London, England
FM Broadcast  

01. You're My Girl (I Don't Want To Discuss It)  06:17
02. Wicked Messenger  04:18
03. Devotion  06:27
04. It's All Over Now  08:18
05. I Feel So Good  08:39

Bonus Show:
Faces
BBC Transcription Pre-Fm reels
John Peel Sunday Concert
Paris Cinema, London, England 
May 13th 1971

01. You're My Girl (I Don't Want To Discuss It)  12:11
02. Love In Vain  08:26 
03. Bad N' Ruin   05:45
04. It's All Over Now  06:53
05. Had Me A Real Good Time  07:05
06. (I Know) I'm Losing You  06:30

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Crosby, Stills, Nash & Young - Déja Vu (Classic Album US 1970)

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Déjà Vu is the second album by Crosby, Stills & Nash, and their first in the quartet configuration of Crosby, Stills, Nash & Young. It was released in March of 1970 by Atlantic Records, catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: "Woodstock", "Teach Your Children", and "Our House".

Déjà Vu was greatly anticipated after the popularity of the first CSN album and given the addition of Young to the group, who at the time remained largely unknown to the general public. Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail. 

The songs, except for "Woodstock", were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young does not appear on all of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface. Jerry Garcia plays pedal steel on "Teach Your Children" and John Sebastian plays harmonica on the title track.

Four singles were released from the album with all but the last, "Carry On," charting on the Billboard Hot 100. The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà Vu — Neil Young's After the Gold Rush, Stephen Stills' self-titled solo debut, David Crosby's If I Could Only Remember My Name, and Graham Nash's Songs for Beginners. [Wikipedia]

Billboard Magazine July 1970

One of the most hotly awaited second albums in history -- right up there with those by the Beatles and the Band -- Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. 

There were also some obvious virtues in evidence -- the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young's contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet's version of Joni Mitchell's "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the album's opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. 

Crosby, Stills, Nash And Young - German Single 1970

"Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby's "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds' "Drug Store Truck Drivin' Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. "Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash's life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed. 

Crosby, Stills, Nash, and Young 1969

And then there were Neil Young's pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn't record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed. [AMG]

Recorded July - December, 1969 at Wally Heider's Studio C, San Francisco and Wally Heider's Studio III, Los Angeles. Released March 11, 1970

Personnel:
♦ David Crosby — vocals all tracks except "4+20"; rhythm guitar on "Almost Cut My Hair," "Woodstock," "Déjà Vu," "Country Girl," and "Everybody I Love You"

♦ Stephen Stills — vocals all tracks except "Almost Cut My Hair"; guitars all tracks except "Our House"; keyboards on "Carry On," "Helpless," "Woodstock," and "Déjà Vu"; bass on "Carry On," "Teach Your Children," and "Déjà Vu"; percussion on "Carry On"

♦ Graham Nash — vocals all tracks except "Almost Cut My Hair" and "4+20"; keyboards on "Almost Cut My Hair," "Woodstock," "Our House," and "Everybody I Love You"; rhythm guitar on "Teach Your Children" and "Country Girl"; percussion on "Carry On" and "Teach Your Children"

♦ Neil Young — vocals on "Helpless" and "Country Girl"; guitars on "Almost Cut My Hair," "Helpless," "Woodstock," "Country Girl," and "Everybody I Love You"; keyboards, harmonica on "Country Girl"

Additional personnel:
♦ Dallas Taylor — drums; tambourine on "Teach Your Children"
♦ Greg Reeves — bass on "Almost Cut My Hair," "Helpless," "Woodstock," "Our House," "Country Girl," and   "Everybody I Love You"
♦ Jerry Garcia — pedal steel guitar on "Teach Your Children"
♦ John Sebastian — harmonica on "Déjà Vu

01. "Carry On"  Stephen Stills 4:26
02. "Teach Your Children" Graham Nash 2:53
03. "Almost Cut My Hair" David Crosby 4:31
04. "Helpless" Neil Young 3:33
05. "Woodstock" Joni Mitchell 3:54
06. "Déjà Vu" David Crosby 4:12
07. "Our House" Graham Nash 2:59
08. "4 + 20" Stephen Stills 2:04
09. "Country Girl (Whiskey Boot Hill/Down Down Down/"Country Girl" (I Think You're Pretty)" Neil Young  5:11
10. "Everybody I Love You" Stephen Stills, Neil Young 2:21

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Crosby, Stills, Nash, and Young 1969

Article of the day

Tudor Lodge Article -  July 25th 1970  Melody Maker
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Not to be missed: Blue Cheer - Highlights and Low Lives (Superb Hardrock US 1990)

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Highlights and Lowlives is the eighth studio album by American rock band Blue Cheer, released in 1990 and produced by Jack Endino.

Being a child of the 60's I'm glad to see my favorite band is still alive and kicking. So it wass with great anticipation I ordered "Highlights and Lowlives" --After listening to it a few times I said to myself: " Yeap, that's my Blue Cheer alright". They're stll plugging away with that combination of Blues and Hard Rock that earned them the title of "The Fathers of Heavy Metal".

Album Foldout

As much as I love the music I still haven't figured out why the emphasis on the military shown on this release. Urban Soldiers - good song, but why? "The Flight of the Enola Gay" -- I doubt if Peterson was even born when the Enola Gay took off on "that fateful day". All I can figure is the album came out right about the time of the 50th Anniversary of the bombing. Hell of a topic for a tribute.
But, over all, if you like your Blues with that hard rock edge, get this CD --Blue Steel Dues is the best track of the bunch. Get it even if only for that one song.

Now I don't understand why this one is so underrated. Maybe that 90's style production is the reason why so many people call this one a dull album. But for me this one is a great album. The sound is a heavy blues rock sound and I like it a lot. The highlights for me include "Hunter of Love", "Big Trouble in Paradise", "Flight of the Enola Gay" and the amazing "Blue Steel Dues". The only thing I really have to complain about is that ridiculous album cover. It just blows.

Biography by Wikipedia:
Blue Cheer was an American rock band that initially performed and recorded in the late 1960s and early 1970s and was sporadically active until 2009. Based in San Francisco, Blue Cheer played in a psychedelic blues-rock style, and is also credited as being pioneers of heavy metal (their cover of "Summertime Blues" is sometimes cited as the first in the genre), punk rock, stoner rock, doom metal, experimental rock, and grunge. According to Tim Hills in his book, The Many Lives of the Crystal Ballroom, "Blue Cheer was the epitome of San Francisco psychedelia." Jim Morrison of The Doors called the group "The single most powerful band I've ever seen."

The band is said to have been named after a street brand of LSD and promoted by renowned LSD chemist and former Grateful Dead patron, Owsley Stanley.

Golden years (1967–1969):
Blue Cheer came together in 1967. The formation of the band was organised by Dickie Peterson. Dickie Peterson lived in San Francisco where the sixties music scene was starting to hit the high note. Peterson had previously been with the Davis-based band Andrew Staples & The Oxford Circle, as well as future Blue Cheer members Paul Whaley and Gary Lee Yoder. The original Blue Cheer personnel were singer/bassist Dickie Peterson, guitarist Leigh Stephens and Eric Albronda as drummer. Albronda was later replaced by Paul Whaley, who was joined by Dickie's brother Jerre Peterson (guitar), Vale Hamanaka (keyboards), and Jere Whiting (vocals, harmonica). Albronda continued his association with Blue Cheer as a member of Blue Cheer management, as well as being the producer or co-producer of five Blue Cheer albums.

Dickie Peterson 1990

The band was managed by an ex-member of the Hells Angels named Gut. Early on, it was decided that the lineup should be trimmed down. It was said that Blue Cheer decided to adopt a power trio configuration after seeing Jimi Hendrix perform at the Monterey Pop Festival, but was later proven to be false. Hamanaka and Whiting were asked to leave. Jerre Peterson didn't want to remain in the group without them, so he departed as well, leaving Dickie, Leigh and Paul as a trio. Their first hit was a cover version of Eddie Cochran's "Summertime Blues" from their debut album Vincebus Eruptum (1968). The single peaked at No. 14 on the Billboard Hot 100 chart, their only such hit, and the album peaked at No. 11 on the Billboard 200 chart. In Canada, the song peaked at #3 on the RPM Magazine charts.

The "Summertime Blues" single was backed with Dickie Peterson's original song "Out Of Focus". Peterson also contributed to the album the eight-minute "Doctor Please" and "Second Time Around", which features Paul Whaley's frantic drum solo. Filling out the record, the band cranked out blues covers "Rock Me Baby" and Mose Allison's "Parchman Farm" (titled "Parchment Farm").

The group underwent several personnel changes, the first occurring after the 1968 release of Outsideinside after Leigh Stephens left the band due to musical differences or, as some report, deafness. He was replaced by Randy Holden, formerly of Los Angeles garage rock band The Other Half. On 1969's New! Improved! Blue Cheer there were different guitarists on side 1 and side 2 (Randy Holden and Bruce Stephens) due to Holden's unanticipated departure from the band. Following Holden's departure the band's lineup initially consisted of Dickie Peterson (bass), Tom Weisser (guitar), and Mitch Mitchell (drums), before Whaley returned and Stephens joined the band. Later, Ralph Burns Kellogg also joined the band on keyboards. Blue Cheer's style now changed to a more commercial hard rock sound à la Steppenwolf or Iron Butterfly. By the fourth album Blue Cheer Paul Whaley had left the band and had been replaced by Norman Mayell, and following the release of the fourth album Bruce Stephens also left the band and was succeeded by Gary Lee Yoder who helped complete the album.

According to Dickie Peterson the group's lifestyle during this period caused problems with the music industry and press. Peterson said the group was outraged by the Vietnam War and society in general.

Reconfigurations, inactivity and first extended hiatus (1970s):
The new line-up of Peterson, Kellogg, Mayell and Yoder in 1970 saw the release of The Original Human Being, followed by 1971's Oh! Pleasant Hope. When Oh! Pleasant Hope failed to dent the sales charts, Blue Cheer temporarily split up in 1972.

There was a temporary resumption in 1974 with Dickie Peterson being joined by brother Jerre, Ruben de Fuentes (guitar) and Terry Rae (drums) for some tour dates. This grouping continued on briefly in 1975 with former Steppenwolf bassist Nick St. Nicholas replacing Dickie. The group was then largely inactive for nearly three years, until 1978.

Dickie returned in 1978–79 with a fresh line-up of Tony Rainier on guitar and Mike Fleck on drums. This version of the group went out on an American tour in 1979, primarily playing nightclubs. They played only material from the first two "heavy" Blue Cheer albums, opening their shows with "Summertime Blues".

Further reconfigurations, relocation to Germany, second and third extended hiatus (1980s–1998):
Blue Cheer was once again inactive in the early 1980s. There was another attempt to reunite in 1983, but that fell through. In 1984, Peterson had better luck when he returned with Whaley and Rainier as Blue Cheer and a brand new album The Beast Is Back, which was released on the New York label Megaforce Records. Whaley left again in 1985 as drummer Brent Harknett took over, only to be succeeded by Billy Carmassi in 1987. That same year, Dickie led yet another new lineup of the Cheer that had Ruben de Fuentes back on guitar and Eric Davis on drums. In 1988, the line-up changed once again, being now composed of Dickie Peterson (bass), with Andrew "Duck" MacDonald (guitar) and Dave Salce (drums).

Blue Cheer 1967

From 1989 to 1993, Blue Cheer toured mainly in Europe. During this time, they played with classic rock acts as well as then-up-and-coming bands: Mountain, Outlaws, Thunder, The Groundhogs, Ten Years After, Mucky Pup, Biohazard and others.

1989 saw the release of Blue Cheer's first official live album, Blitzkrieg over Nüremberg. This album was recorded during Blue Cheer's first European tour in decades.

1990 saw the release of the Highlights and Lowlives studio album, composed of blues-based heavy metal and one ballad. The album was co-produced by notable grunge producer Jack Endino and producer Roland Hofmann. The line-up was Peterson, Whaley on drums and MacDonald on guitars.

Blue Cheer followed up "Highlights" with the much heavier Dining with the Sharks. Duck MacDonald was replaced by German ex-Monsters guitar player Dieter Saller in 1990. Also featured is a special guest appearance by Groundhogs guitarist Tony McPhee. The album was co-produced by Roland Hofmann and Blue Cheer. Gary Holland (ex-Dokken/Great White/Britton) replaced Whaley on drums in 1993.

In the early 1990s, Peterson and Whaley re-located to Germany. In 1992 Peterson recorded his first solo album "child of the darkness" in Cologne with a band named "The Scrap Yard". The album appeared five years later in Japan on Captain Trip Records. After Peterson came back to the U.S. (1994), Blue Cheer was dormant from 1994 to 1999.

Blue Cheer 1969

The return of Blue Cheer (1999–2009):
In 1999, Peterson & Whaley got together with guitarist MacDonald, to resume touring as Blue Cheer. This band configuration remained largely constant from 1999 until Peterson's death in 2009.

In 2000, Blue Cheer was the subject of a tribute album, Blue Explosion – A Tribute to Blue Cheer, featuring such bands as Pentagram, Internal Void, Hogwash and Thumlock.

Peterson and Leigh Stephens were together once again in Blue Cheer with drummer Prairie Prince at the Chet Helms Memorial Tribal Stomp in San Francisco's Golden Gate Park on October 29, 2005, and their lively performance drew old rockers like Paul Kantner and others from backstage to observe. They did some recordings in Virginia in Winter 2005 with Joe Hasselvander of Raven and Pentagram on drums, due to Paul Whaley choosing to remain in Germany. While Hasselvander played on the entire album, his contribution was reduced to drums on five songs, with Paul Whaley re-recording the drum parts on the balance of the album. This was because Whaley was set to rejoin the band and it was felt that he should contribute to the album, prior to touring. The resulting CD, What Doesn't Kill You..., released in 2007, features contributions from both Whaley and Hasselvander as a consequence.

Blue Cheer's video for Summertime Blues made an appearance in 2005 documentary Metal: A Headbanger's Journey, where Geddy Lee of Rush referred to the group as one of the first heavy metal bands.

Death of Dickie Peterson and disbandment (2009):
On October 12, 2009, Peterson died in Germany after development and spread of prostate cancer. After Peterson's death, longtime Blue Cheer guitarist Andrew MacDonald wrote on the group's website that "Blue Cheer is done. Out of respect for Dickie, Blue Cheer (will) never become a viable touring band again."

Personnel for this album:
♦ Dickie Peterson - bass guitar, lead vocals
♦ Duck MacDonald - lead guitar, backing vocals
♦ Paul Whaley - drums

01. "Urban Soldiers" (Dickie Peterson) - 4:09
02. "Hunter of Love" (Duck MacDonald, Peterson) - 5:32
03. "Girl from London" (MacDonald, Peterson) - 5:40
04. "Blue Steel Dues" (MacDonald, Peterson) - 6:19
05. "Big Trouble in Paradise" (Peterson, Rainer) - 4:11
06. "Flight of the Enola Gay" (MacDonald, Peterson) - 3:49
07. "(I'm Your) Hoochie Coochie Man" (Willie Dixon) - 5:56
08. "Down and Dirty" (MacDonald, Peterson) - 4:35

Japanese Bonus Track 
09. "Blues Cadillac" (Peterson) - 3:49

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Bob Dylan - Scorpio Genuine Live 1966 (8CD Boxed Set) (Bootleg)

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Bitrate: 320
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Found in my car today!!
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Bob Dylan 
Genuine Live 1966 
Scorpio 8 CD Box Set

This incredible 8 CD box set from Scorpio is the ultimate documentation of the 1966 world tour. The sound quality is as good as the best known recordings. The package itself warrants owning this visual stunner. Always at the top of the game, Scorpio adds this crown jewel into their already impressive catalog. The covers are  all rare period photos and images that have to be seen to be believed. Each of the 8 discs slips into a cardboard sleeve not unlike a vinyl LP jacket. 

The jacket then slips into a gatefold cardboard cover. The covers bear a logo altered from the old CBS 'eye' logo. Each of the five covers are presented as a set, with individual names, photos and graphics. The individual CDs can be seen by clicking on the name of each one at right. The entire set comes housed in a fabulous looking cardboard box with a great photo cover and a gold foil sticker. 

The CDs are gold, each with a different color ink that touts 'Robert and the Hawks', along with the tracks. As well as a lone wolf logo, Scorpio has borrowed another logo for the CD design ... a 'Mobile Fidelity Sound Lab' type logo emblazoned on the left side of each disc lends a touch of class. All of this over the top excess would make any collector drool, ...but it doesn't stop there. Scorpio has also included two full color tour booklets, 3 vintage looking black and white postcards. And a jaw dropping fold out 9½" x 14½" poster. You can see it full size by clicking the thumbnail at right. This extravagant set will be one of the highlights of any size collection.

A Phoenix In April Sydney Stadium, Sydney, Australia  April 13, 1966:
The Sydney show is a raw and powerful soundboard recording. It is surprisingly quite for being an analog recording from such an early show. Dylan is talkative between a few of the first songs of each set in the slow, stoned voice that typified this tour. The first disc contains the acoustic show. The first song cuts in, and the tape speed runs off for a second. The mic windscreen (pop filter) does not work well throughout the show. On Visions Of Johanna, virtually every line has a word that pops. It's not as bad on Fourth Time Around, which contains a momentary feedback. It returns on each "Baby Blue". On the solo of Desolation Row, Dylan plays a series of triplets on the guitar in double time, and blows a slide on the harp to compliment it for a strange effect that probably worked better live than it does on tape. The second disc is the electric set. The music is well mixed, but the vocals completely overpower it. Of course, because of the nature of the harder singing on this set, the pop filter is much more problematic. Dylan introduces Just Like Tom Thumb's Blues with a bizarre faux meaning of the song. The pop filter becomes so ineffective, that on some verses of LeopardSkin PillBox Hat, every word pops The highlight of the electric set is an erie, laid back Ballad Of A Thin Man that makes use of dynamics, and a play between the vocals and organ. All in all, this is a great recording. The sound is bright and full, and as good as the best know tapes. The discs are a tad short at 48 minutes each, but the overall package wouldn't have work so well by using filler material. The cover stays with the black, white, and red theme of the official Bootleg Vol. 4 release. The CDs were copied by Orange and released as a double entitled 

Disc one 
01. She Belongs To Me 
02. Fourth Time Around 
03. Visions Of Johanna 
04. It's All Over Now Baby Blue 
05. Desolation Row 
06. Just Like A Woman 
07. Mr. Tambourine Man

Disc two 
01. Tell Me Momma 
02. I Don't Believe You 
03. Baby Let Me Follow You Down 
04. Just Like Tom Thumb's Blues 
05. LeopardSkin PillBox Hat 
06. One Too Many Mornings 
07. Ballad Of A Thin Man 
08. Positively Fourth Street

The Children's Crusade Festival Hall, Melbourne, Australia  April 20, 1966:
As with most performances of this tour, Dylan sings the first 6 songs solo with the acoustic guitar. For this show he uses a borrowed guitar, as his had been broken. When compared to the Sydney show, this performance is more laid back. This recording has a higher analogue tape white noise floor level, but the windscreen is effective at this show, and there are few mic pops. She Belongs To Me cuts in after the song has begun The band kicks in for electrified versions of the final 3. The overall sound on this recording is quite good. All members of what would be The Band are now in place, except for Levon Helm. On this show, Mickey Jones plays drums. Dylan introduces Just Like Tom Thumb's Blues with a fanciful story about a Mexican Painter, and two girls begin screaming wildly at the prospect of their idol singing their favorite song. Half of the show was broadcast on channel 9 TV South Australia in January 1967, and has been available ever since as a mono recording. The tape here is purported to be a stereo soundboard recording, but it is re-channeled or 'created' stereo. Keep in mind that even the soundboard tapes of the European tour that followed were only 3 tracks. There were two machines in use, but this was not for extra tracks or for a stereo effect. Technology of the day dictated two machines starting a different times to prevent music loss in the event of tape run out. The Aussie shows were mono line feed recorded from the film crew. Mr. Tambourine Man was performed as well, but only a fragment was recorded. Without it, the show clocks in at 57 minutes. Ten minutes of the Adelaide press conference were added to round it out. The original CD release of this show was 1988's 'Bob Dylan's Dream Vol.1'. It was merely recorded from vinyl, however, and the electric portion suffered the fate of being a weak mono TV broadcast tape. The cover illustration is from a 1966 edition of The New Yorker that included a Dylan article of the same title written by Ralph Gleason.

01. She Belongs To Me  
02. Fourth Time Around 
03. Visions Of Johanna (Mother Revisited) 
04. It's All Over Now Baby Blue 
05. Desolation Row 
06. Just Like A Woman 
07. Tell Me Momma 
08. Baby Let Me Follow You Down 
09. Just Like Tom Thumb's Blues & Inteview * 

*Adelaide, Australia interview 10 minutes April 22, 1966

While Establishment Burns Adelphi Theatre, Dublin, Ireland May 5, 1966:
Six of the seven songs that were recorded at the Adelphi Theatre have been available to vinyl LP boot collectors for many years. They first appeared on CD in 1988 as 'Dublin May,5 1966'. They are not quite the quality as some of the other shows, but they are still very good. The problems include a  As it was an incomplete recording, Scorpio has rounded out the disc with some of the wildest performances of the tour. Great quality as well. These 3 songs are the only known surviving board recordings of their respective shows except for ABC's I Don't Believe You, which was officially released on Biograph.. These push the listening time to 65 minutes. There have been rumours since the 1960s of an unreleased Dylan song by the title of While The Establishment Burns. It was also the name of a fairly rare 1970 bootleg LP release. 

01. Visions Of Johanna 
02. Fourth Time Around 
03. It's All Over Now Baby Blue 
04. Desolation Row 
05. Just Like A Woman 
06. Mr. Tambourine Man 
07. I Don't Believe You 
08. Ballad Of A Thin Man** 
09. One Too Many Mornings* 
10. Like A Rolling Stone* 

sources:  
Adelphi Theatre, Dublin, Ireland May 5, 1966 
** KB Hallen, Copenhagen, Denmark May 1, 1966 
*ABC Theatre, Edinburgh, Scotland May 20, 1966

A Nightly Ritual Odeon Theatre, Liverpool, UK May 14, 1966:
If not the best sounding recording, Liverpool is as good a performance of the electric set as you will find on the tour. Perhaps inspired by playing the hometown of the Fab Four, the band is tight and powerful. Dylan's vocals, Robbie's lead guitar playing and Garth's erie B-3 all seem truly inspired. This board tape is of a remarkable effort. The first track was used as a demo of the song by Dwarf music. The second track appeared on a 1966 single, and on the official CBSCD Masterpieces. Dylan starts his now famous mumbling ruse before the introduction of LeopardSkin PillBox Hat, as the blue collar audience becomes a little loud with their heckling. Ballad Of A Thin Man is the highlight of the night. Glasgow is interesting tracks of songs that Bob was working on that were recorded for use in the film Eat The Document. The sound quality is amazing. The Sheffield show is perhaps the best of the tour. The quality is incredible, and the performance can move you to tears. The Gaumont adds a warmth and depth to the overall sound that is lacking at many venues, and Bob pours his heart into every syllable. This set represents some of the finest of the tour and, arguably, the best of this entire collection. The title of this set comes from the number of shows that were packed into the month of May (night after night) to make the European tour profitable. 

Disc one 
Liverpool: 
01. Tell Me Momma 
02. I Don't Believe You 
03. Baby Let Me Follow You Down 
04. Just Like Tom Thumb's Blues 
05. LeopardSkin PillBox Hat 
06. One Too Many Mornings 
07. Ballad Of A Thin Man 
08. Like A Rolling Stone 
Glasgow: 
09. What Kind of Friend Is This 
10. I Can't Leave Her Behind 
11. I Can't Leave Her Behind 
12. Does She Need Me 

Disc two 
Sheffield: 
01. She Belongs To Me 
02. Fourth Time Around 
03. Visions Of Johanna 
04. It's All Over Now Baby Blue 
05. Desolation Row 
06. Just Like A Woman 
07. Mr. Tambourine Man 
08. LeopardSkin PillBox Hat 
09. One Too Many Mornings 
10. Ballad Of A Thin Man* 

Sources: 
Odeon Theatre, Liverpool, UK May 14, 1966 
Glasgow Hotel Tape, Scotland  May 19, 1966 
Gaumont Theatre, Sheffield, UK May 16, 1966 
*Odeon Theatre, Birmingham, UK May 12, 1966 

Genuine RAH Concerts Free Trade Hall, Manchester, UK  May 17, Royal Albert Hall, London, UK  May 26, Royal Albert Hall, London, UK  May 27, 1966:

The Manchester show is moot now with the release of the official album, but this actually has a slightly softer, more polished sound. This CD is most likely the correct order and venues of what has traditionally been a very confusing and inaccurate account of the performances in the bootleg community. These represent clean, quiet recordings... although they have been available to collectors for so long that it's almost hard to get excited about them. If you're new to collecting, by all means, this is required material ... and in as good a quality as you are likely to find. Unfortunately, with all these wondrful soundboard tapes that were presented in this exhaustive set... the manufacturer has resorted to presenting a copy of this show that was recorded from vinyl. There's vinyl noise throughout. Because this show was usually booted to vinyl in great quality, this is still a pleasant listening expierence. Old timers will find this recording strangely comforting, for those raised in the CD era, swallow your pride... you will not die, it's not poison. You might even find it a little warmer sounding than what you've been used to hearing. At the final tracck of disc one, we magically switch to a pristien tape source. We get to hear a rarity on the tour... Bob introduces The Band. Then he kicks into the highlight of disc one... a paifully slow Like A Rolling Stone in which Bob spits words at the crowd with venom, and drags them into eternity. On disc 2 we resume with the vinyl. 

Disc one 
Manchester: 
01. She Belongs To Me 
02. Fourth Time Around 
03. Visions Of Johanna 
04. It's All Over Now Baby Blue 
05. Desolation Row (cuts out) 
London, May 26: 
06. She Belongs To Me (looses vol. for few seconds) 
07. Fourth Time Around 
08. Visions Of Johanna 
09. LeopardSkin PillBox Hat 
10. One Too Many Mornings 
11. Ballad Of A Thin Man 
12. Like A Rolling Stone

Disc two 
London, May 27: 
01. She Belongs To Me 
02. Fourth Time Around 
03. Visions Of Johanna 
04. It's All Over Now Baby Blue 
05. Desolation Row 
06. Just Like A Woman 
07. Mr. Tambourine Man 
08. Interview and listener calls * (10 minutes)

sources: 
Free Trade Hall, Manchester, UK  May 17, 1966 
Royal Albert Hall, London, UK  May 26, 1966 
Royal Albert Hall, London, UK  May 27, 1966 
*Bob Fass Show (WBAI-FM, NY); January 26, '66

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Fairport Convention - Live 1970-05-27 and 1970-08-30 (Bootleg)

Size: 278 MB
Bitrate: 320
mp3
Found in DC++ World
Some Artwork Included

The best British folk-rock band of the late '60s, Fairport Convention did more than any other act to develop a truly British variation on the folk-rock prototype by drawing upon traditional material and styles indigenous to the British Isles. While the revved-up renditions of traditional British folk tunes drew the most critical attention, the group members were also (at least at the outset) talented songwriters as well as interpreters. They were comfortable with conventional harmony-based folk-rock as well as tunes that drew upon more explicitly traditional sources, and boasted some of the best singers and instrumentalists of the day. A revolving door of personnel changes, however, saw the exit of their most distinguished talents, and basically changed the band into a living museum piece after the early '70s, albeit an enjoyable one with integrity.

When Fairport formed around 1967, their goal was not to revive British folk numbers, but to play harmony- and guitar-based folk-rock in a style strongly influenced by Californian groups of the day (especially the Byrds). The lineup that recorded their self-titled debut album in 1968 featured Richard Thompson, Ian Matthews, and Simon Nicol on guitars; Ashley Hutchings on bass; Judy Dyble on vocals; and Martin Lamble on drums. Most of the members sang, though Matthews and Dyble were the strongest vocalists in this early incarnation; all of their early work, in fact, was characterized by blends of male and female vocals, influenced by such American acts as the Mamas & the Papas and Ian & Sylvia. While their first album was derivative, it had some fine material, and the band was already showing a knack for eclecticism, excavating overlooked songs by Joni Mitchell (then virtually unknown) and Emitt Rhodes.

What We Did on Our HolidaysFairport Convention didn't reach their peak until Dyble was replaced after the first album in 1968 by Sandy Denny, who had previously recorded both as a solo act and with the Strawbs. Denny's penetrating, resonant style qualified her as the best British folk-rock singer of all time, and provided Fairport with the best vocalist they would ever have. What We Did on Our Holidays (1969) and Unhalfbricking (1969) are their best albums, mixing strong originals, excellent covers of contemporary folk-rock songs by the likes of Mitchell and Dylan, and imaginative revivals of traditional folk songs that mixed electric and acoustic instruments with a beguiling ease.

Liege & LiefMatthews had left the band in early 1969, and Lamble (still in his teens) died in an accident involving the group's equipment van in mid-1969. That forced Fairport to regroup, replacing Lamble with Dave Mattacks, and adding Dave Swarbrick on fiddle. Their repertoire, too, became much more traditional in focus, and electrified traditional folk numbers would dominate their next album, Liege and Lief (1969). Here critical thought diverges; some insist that this is unequivocally their peak, marking a final escape from their '60s folk-rock influences into a much more original style. This school of thought severely underestimates their songwriting talents, and others feel that they were at their best when mixing original and outside material, and contemporary and traditional styles, in fact becoming more predictable and derivative when they opted to concentrate on British folk chestnuts.

Full House The Liege and Lief lineup didn't last long; by the end of the '60s, Ashley Hutchings had left to join Steeleye Span, replaced by Dave Pegg. More crucially, Denny was also gone, helping to form Fotheringay. Thompson was still on board for Full House (1970), but by the beginning of 1971 he too had departed, leaving Nicol as the only original member.

Angel DelightFairport have kept going, on and off (mostly on), for the last 25 years, touring and performing frequently. It may be too harsh to dismiss all of their post-Thompson records out of hand; Angel Delight (1971), the first recorded without the guitarist on board, was actually their highest-charting LP in the U.K., reaching the Top Ten. Nicol's exit in late 1971 erased all vestiges of connections to their salad days. Fairport was now not so much a continuous entity as a concept, carried on by musicians dedicated to the electrified British folk style that had been mapped out on Liege and Lief.
So it continues to this day, supported by a devoted fan base (Dirty Linen, the top American roots music magazine, originally began as a Fairport Convention fanzine). 

Denny would actually return to the group for about a year and a half in the 1970s, prior to her death in 1978; Nicol rejoined in 1976. Keeping track of Fairport's multitudinous lineup changes is a daunting task, and the group has coexisted on an erratic basis with the various other projects of the most frequent members (Nicol, Mattacks, and Pegg, the last of whom has played with Jethro Tull since the late '70s). They played annual reunion concerts during the 1980s and '90s (sometimes joined on-stage by Fairport alumni like Thompson), events that turned into some of the most popular folk festivals in Europe. They've also released some albums of new material intermittently throughout the last couple of decades, mostly pleasant, unexceptional traditional-oriented outings that appeal primarily to diehards.

The most distinguished graduates of Fairport, however, have continued to shape the British folk and folk-rock scene with notable solo and group projects. Richard Thompson is one of the most critically acclaimed singer/songwriters in the world; Ian Matthews made some interesting recordings as a solo act and with Plainsong and Matthews Southern Comfort; Denny sang with Fotheringay and released several solo albums before her death; and Hutchings carried on the most traditional face of British folk-rock with Steeleye Span, the Albion Band, and the Etchingham Steam Band.

Fairport Convention
1970-05-27
Mandel Hall, University of Chicago, Chicago, IL
FM broadcast (WHPK-FM)     

♣ Richard Thompson - lead guitar, vocals
♣ Simon Nicol - rhythym guitar, bass, vocals
♣Dave Swarbrick - violin, mandolin, vocals
♣ Dave Pegg - bass, mandolin
♣ Dave Mattacks - drums

01. Walk Awhile  07:38
02. Lark In The Morning > Rakish Patty > The Foxhunter's Jig > Toss The Feathers  04:11
03. Matty Groves  14:08
04. The Deserter  07:17
05. Dirty Linen > Paddy On The Railroad > Drops Of Brandy > O'Carolan's Concerto  05:09
06. Sloth  11:43
07. Drum solo > Lucy > Flatback Caper  10:52
08. Tam Lin  11:27
09. Sir Patrick Spens  04:56

Fairport Convention
Philadelphia Folk Festival
Old Farm, Schwenksville, PA
FM Broadcast 1970-08-30

♣ Dave Swarbrick - fiddle, vocals
♣ Richard Thompson - guitar, vocals
♣ Simon Nicol - guitar, vocals
♣ Dave Pegg - bass, vocals
♣ Dave Mattacks - drums

01. Walk Awhile  06:22
02. Dirty Linen  05:21
03. Lark in the Morning  06:03
04. Sloth  11:38
05. Banks of the Sweet Primroses  05:05
06. Sir Patrick Spens  05:12
07. Jenny's Chickens/The Mason's Apron  04:15

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