Pink Floyd: Los Angeles 1987 (PRRP Aud Remaster) FLAC

PRRP025- PINK FLOYD
MONEY GOES WEST
November 30, 1987 (The Sports Arena - Los Angeles, California)

CD1
1-1. Shine On You Crazy Diamond (pt. 1-5) 12:25
1-2. Signs Of Life 3:43
1-3. Learning To Fly 5:51
1-4. Yet Another Movie 7:14
1-5. A New Machine (pt. 1) 1:28
1-6. Terminal Frost 6:20
1-7. A New Machine (pt. 2) 0:34
1-8. Sorrow 10:20
1-9. Dogs Of War 8:20
1-10. On The Turning Away 8:55
1-11. One Of These Days 6:56

CD2
2-1. Time 6:03
2-2. On The Run 4:55
2-3. Wish You Were Here 5:14
2-4. Welcome To The Machine 8:41
2-5. Us & Them 7:29
2-6. Money 9:32
2-7. Another Brick In The Wall (pt. 2 ) 6:58
2-8. Comfortably Numb 9:55
2-9. One Slip 7:00
2-10. Run Like Hell 7:44

PINK FLOYD
David Gilmour - Lead Guitars & Lead Vocal
Rick Wright - Keyboards & Vocals
Nick Mason - Drums & Percussion
With Special Guests
Tim Renwick- Guitars & Vocals
Guy Pratt- Bass Guitars & Vocals
Scott Page- Saxophones
Gary Wallis- Percussion
Rachel Fury- Backing Vocals
Margret Taylor- Backing Vocals

Please, A Momentary Lapse into Reason! 
“Pink Floyd had become a spent force creatively, and this should be recognized in order to maintain the integrity and reputation of the group name… It is only realistic and honest to admit that the group has in practical terms disbanded and should be allowed to retire gracefully from the music scene”. –Roger Waters
“The strength of Pink Floyd always lay in the talents of all four members. Naturally we will miss Roger’s artistic input. However, we will continue to work together, as in the past.” –David Gilmour 
“I’d love to see the Floyd back together, because it’s been such a terrible waste. The chemistry between the band (members) was such that the sum of the parts was far greater than their individual offerings. Dave and Roger complemented one another so well.” -Nick Griffiths 
“My worst nightmare? Roger back in Pink Floyd”  -Nick Mason 
“Roger laughed once a year”.  –David Gilmour
 
It is said that all things must pass. After the album The Final Cut, the band known as Pink Floyd would be changed forever. As fans we would no longer have the four members that gave us Dark Side of the Moon, Wish You Were Here and The Wall. For both stated and unstated reasons, Roger Waters left Pink Floyd, never to return again. In the absence of Waters, Gilmour and Mason called upon many within the music world to help them with their new album, A Momentary Lapse of Reason. Initially, another concept album was envisioned. For this, Eric Stewart from 10cc was asked to help as were English poet Roger McGough and songwriter Carole Pope. When this approach seemed unworkable, a more traditional album was planned.  Numerous sessions took place which eventually lead to the material for the new album. Phil Manzanera, guitarist for Roxy Music, collaborated on the song One Slip. Anthony Moore, from the band Slap Happy, co-wrote the lyrics to Learning to Fly, On the Turning Away and The Dogs of War. Joe Carin also helped write Learning To Fly, which was based in part on David Gilmour’s own experience becoming a pilot. Carin was then asked to help play keyboards on the album. Pat Leonard, producer for Madonna, co-wrote Yet Another Movie and played synthesizers on the album. But in the end, some say the biggest outside influence on the new Pink Floyd album was Bob Ezrin. As a former producer of The Wall, the band knew him well and it was understandable that Gilmour would turn to him for assistance during the turbulent time after Waters departure. Not only did Ezrin co-produce A Momentary Lapse of Reason with David Gilmour, but he also played keyboard, percussion and sequencers for a number of the tracks. To the delight of many, Mason and Gilmour invited Richard Wright back into the fold. Yet with most of the keyboard segments already written for the album by Ezrin, Carin and Leonard, Wright could only contribute backing vocals and supporting piano or organ segments before returning to his position of keyboard master during the live tour. They also secured the talents of Tony Levin to take the place of Roger Waters on Bass and two additional drummers: Jim Keltner and Rod Stewart’s former drummer Carmine
Appice.            
The tour began with trepidation because the band had not played live since 1981. Promoters were unsure if a 1970’s band like Pink Floyd could still fill venues 6 years after their last performance. But much to the surprise of everyone, including Roger Waters, the shows sold out overnight. After one show scheduled in Toronto sold out with tickets being purchased as fast as they would be printed, two more shows were added and sold out just as quickly. Once word got out that “The Floyd” was back was selling out venues, other cities competed for the band’s attention. After four weeks of practice in a Toronto airplane hanger the new Pink Floyd was ready again to provide their fans with live performances. They started in Buffalo, New York on September 7th, 1987 and continued through North America, ending the tour with 2 shows in Vancouver 3 months later. What we bring you here was recorded on November 30, 1987, the fifth show of a six night stay at the Los Angeles Sports Area. This quality master recording can show the world that in 1987, Pink Floyd still had musical avenues to explore and still cared very much about their earlier music as well, much to everyone’s delight. 

Notes from the Re-Master
This show is taken from the master cassette used to record the concert. To our knowledge, this show has never been available before in any form.
The cassettes were digitized using 24 bit resolution and 32 bit formatting. Harmonics were detected up to 11,000 Hz. Hiss was quite high and needed a major reduction. Bass was quite deficient and was universally boosted. Inconsistent dynamic variations were adjusted to make for a more flowing presentation. With a low volume recording this allowed enough room to make tonality adjustment before final normalization. A few patches were needed during tape flips but should not be too noticeable as outside sources were not necessary. Audience applause and other noises were reduced in volume as much as possible with respect to the music; these included applause, yells and a bit of colorful language. During the processing we detected
that an audience member yells one slip to announce the performance of this rarely played song. We also noticed a bit of improvisation at the end of Welcome to the Machine. The show was balanced between the two discs as a final step. -PRRP Staff

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UK: Alaska by Night 1978 (PRRP FM Remaster) FLAC

PRRP016- UK ALASKA BY NIGHT
Disc 1 June 27, 1978 (El Mocambo - Toronto, Canada)
Disc 2 August 8, 1978 (Penn's Landing - Philadelphia, Pennsylvania)

1-1. Alaska 2:10
1-2. Time To Kill 7:21
1-3. The Sahara of Snow 10:05
1-4. Carrying No Cross 9:58
1-5. The Only Thing She Needs 8:47
1-6. Thirty Years 8:56
1-7. In The Dead of Night 5:55
1-8. By The Light of Day 5:54
1-9. Presto Vivace and Reprise 4:03

2-1. Alaska 1:35
2-2. Time To Kill 7:25
2-3. The Only Thing She Needs 7:18
2-4. Carrying No Cross 9:53
2-5. Forever Till Sunday 6:03
2-6 Thirty Years 9:20
2-7 In The Dead of Night 8:47
2-8 The Sahara of Snow 9:31
2-9 Ceasar's Palace Blues 4:25

UK
John Wetton- Vocals-Bass Guitars
Eddie Jobson- Keyboards-Electric Violins
Bill Bruford - Drums & Percussion
Allan Holdsworth- Guitars

A Brief Encounter
The Year was 1978. The disco beat of the Bee Gees had invaded America, punk rock was
raging in Britain and Europe, and things were changing fast on the music scene. Progressive rock bands that had dominated the seventies were now labeled DINOSAURS by the new generation of music fans and quickly started to fade away. Big money was now ruling the music industry and established giants such as Yes, Genesis and even Pink Floyd had to come up with hits just to stay alive. Yet, in the midst of this great musical upheaval, a new band appeared, out of nowhere it seemed, holding the progressive torch very high. This band’s name was UK and their eponymous first album had just been released through EG records. New band, formidable music style, and a few familiar names. Who were these guys, and where did they come from?
Bill Bruford, by far the most well known name of the four, began his career with the
band Yes in the late sixties. In 1972 he left Yes to join King Crimson where he first meets and works with John Wetton. After three very productive years in K.C. and Robert Fripp’s still highly debated decision to fold the band, Bill lends a helping hand to his old Yes band-mate Steve Howe with his solo album, then joined Genesis for the 1976 A Trick of the Tail tour. In 1977, Bruford collaborates with Allan Holdsworth on his first solo album Feels Good To Me which is released in August of 1977, after U.K. had formed.
John Wetton, another quite familiar name, started out in a band called The Family in
1971. After two albums with them he moved on to King Crimson. When K.C. disbanded in 1974, John joined Roxy Music where he met Eddie Jobson for the second time, the later having joined K.C. briefly in 1975. Wetton also played briefly with Uriah Heep during that time. Then, after helping his old Roxy Music band-mate Brian Ferry with his solo album In Your Mind in 1977, John was ready to form U.K.
Allan Holdsworth was well known as a jazz-fusion guitarist. Before his work with
U.K. he played with Jean-luc Ponty for the Enigmatic Oceans and Voyage albums. Prior to that, he had worked with Soft Machine and Gong. His first experience with his future U.K. band-mates was playing guitar for Bill Bruford's first solo album in 1977.
Eddie Jobson has played keyboard and violin for many progressive rock and jazz-fusion groups. Prior to the formation of U.K. he was best known for his work with Roxy Music but also worked with Curved Air, Andy Mackay, Brian Ferry, Roger Glover, Dana Gillespie and Mike Heron.
In 1975 he appeared on the King Crimson album USA where he added some overdubs. On this occasion, he first met with Bill Bruford and John Wetton, whom he would join in UK nearly three years later.
U.K.'s first album was recorded at Trident studios in London, England during December 1977 and January 1978. A quite extensive World tour followed. UK’s first performance was April 29, 1978 at Southampton University. In the summer of 1978, the band toured Canada and the US, including Toronto, Canada and Philadelphia, US, both shows presented here as a special PRRP package. At both concerts, many of the songs from their first album were performed as extended length versions with long instrumental segments added to accentuate the grand musicianship. Odd time signatures and stellar cohesiveness were the hallmarks of U.K.’s music and are clearly present during these shows. It is too bad that this particular UK line-up stayed together for only one year. Enjoy!

Notes from the Re-Master
Both shows are radio broadcasts and came from 1st generation sources. The fidelity was very good for both with music signal up to 16,000 Hz for each. The Toronto show required Hiss reduction throughout the whole show. A few notch filters were also needed to remove selected noise. Crackle also occurred intermittently and needed filtering. Applause was a little too loud in spots and was reduced in volume. At the end of a few songs the source faded to zero only to fade in again with applause. Applause was mixed into these faded segments in order to provide a smooth transition. Finally, Treble was reduced a bit to balance the tonality.
The Philadelphia show did not require Hiss reduction but had may clicks and pops that required manual removal. Applause was smoothed and the whole show was normalized for volume.
Finally, the two shows were originally tracked differently, especially with respect to the two songs Alaska and Time to Kill. Both were tracked to be consistent with commercially produced U.K. recordings.

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Pink Floyd: The Beechwood '67 Tape (Pre-FM) FLAC

Nick Mason played this 1967 Pink Floyd reel during an interview in 1969. It contains the unreleased "In The Beechwood" plus 2 versions of "Vegetable Man" (a 1967 mix and instrumental). Not copied from HYGIY, this is an unprocessed copy.
1969 interview master reel>cassette>CDR(x?)

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Mott The Hoople: Fillmore East 1970 (G+/VG- Aud)

OU: I Received this recording in a trade quite a few years ago from the great norweigan mott collector Sven Gusevik, If your about on here Sven thanks for this and i hope you dont mind me putting this up!. Sounds like a low gen recording, from memory i think the original was a bit fast or slow so i tidied it up a bit using cool edit. Ripped to FLAC Level 8 with dbpoweramp.
Dave: Good recording except that the bass overwhelms the mics often.

Tracklist
Darkness Darkness
Laugh At Me
Rock n Roll Queen
At The Crossroads
Half Moon Bay
You Really Got Me

The Band
Ian Hunter - Piano, Vocals
Mick Ralphs - Guitar, Vocals
Overend Watts - Bass
Verden Allen - Organ
Buffin - Drums

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Genesis: Cleveland 1976 (Pre-FM PRRP Remaster) FLAC

15-Apr-1976
Music Hall
Cleveland OH
Pre-FM Source

Move Into The Light
It was February 1976. To everyone’s amazement, Phil Collins had taken over the lead vocal duties in Genesis with a natural aplomb and the minimum of fuss. The band’s new album, ‘A Trick Of The Tail’, their first as a quartet, had received universally positive reactions from fans and the music press, and had reached unprecedented heights in the charts, proving beyond the shadow of a doubt that the band could survive the loss of their charismatic former lead singer, Peter Gabriel. Having replaced Gabriel and recorded a purposeful, classic new album, there was now one major hurdle remaining for the band: reconnecting with their fans on the live stage.
One of Peter Gabriel’s great strengths had always been his ability to create a unique bond between himself and his audience. Wisely, Phil decided not to imitate Peter’s style, choosing instead to present himself on stage as he was in real life - a witty, amiable chap, with an infinite capacity to entertain both with his easy humour and superb musical talent. So, in the spring of 1976, reinforced by the addition of Bill Bruford on drums, the new Genesis line-up set out to continue their ongoing quest for global recognition. As with the legendary ‘Lamb Lies Down On Broadway’ tour, this one kicked off in North America. But unlike the ‘Lamb’ tour, when the album had not been released in time for the early dates, this time the new album was released well ahead of the tour, giving fans ample opportunity to familiarize them selves with the new material before seeing the band live.
North American audiences responded warmly and immediately to Phil’s relaxed stage persona. Even the press, who had written Genesis off when the news of Peter Gabriel’s departure was revealed, had to admit that they had been hasty in their dismissal of the band. Genesis were still a major force to be reckoned with, and the new tour gained them wider acclaim with each passing day, something that no-one, not even the band members themselves, could surely have predicted.
The ‘Trick Of The Tail’ tour proved to be the band’s most successful North American crusade to date, so much so, in fact, that two renowned rock radio stations, in Pittsburgh and Cleveland, sought and received permission to broadcast a complete Genesis concert live. The first of the two concerts was broadcast from the Syria Mosque in Pittsburgh on April 13, 1976. The second, which PRRP brings you now, was broadcast by WMMS, Cleveland, Ohio, two days later. Both broadcasts have provided, in whole or in part, the source material for many bootlegs over the years and, more recently, have been remastered by the likes of FADE, BURP and Eeklair.
So the question now is: Why release yet another remaster of this widely circulated show? The answer is very simple: the recording used to create this new remaster was presented to us as being from a pre-FM source, an irresistible start for any kind of remastering job. The result is pretty impressive to our ears and we now offer it to you, the discerning listener. With no claims to being the ultimate remaster of this show, here is PRRP’s version of this famed broadcast from April 15, 1976.
As with all other sources, ‘Entangled’ and ‘Squonk’ are unfortunately missing from this recording. No-one has been able to explain the absence of these two songs from the broadcast so we guess the reason for this sad omission will forever remain a mystery to Genesis fans. As for the rest of the show, everything is here in pristine quality, from the thunderous opening of ‘Dance On A Volcano’ (and the synthesizer hiccup at the end of it) to the resounding finale of ‘it’ and ‘Watcher Of The Skies’. Despite a few technical problems (and the now infamous ‘wrong tape’ incident in ‘Supper’s Ready’), this is a polished, confident performance from a band with something to prove. The songs performed on this tour, including a stunning new arrangement of ‘White Mountain’ from the ‘Trespass’ album, make this particular set list one of the most varied and entertaining of the band’s entire career. Combine that with the players’ incredible musicianship and you have the ingredients of a fantastic live listening experience.

Notes from the Re-Master
We started with a CD Pre-FM source for this project. This version has a radio station intro and outro section which I have not heard on other versions of this recording. The quality is certainly Pre-FM and the transmission noise which is present on other versions, is not present here. As with other versions, the show is complete with the exception of the two songs noted above.
Speed correction was the first order of business. This was the major problem with this recording. The error varied a bit but was otherwise consistent and easy to correct. Once that was fixed, the tonality was adjusted using both static and dynamic filters. This helped to smooth the harshness present in dialogue sections. The dynamics were very compressed and needed extensive re-working. Hardcore Metal bands drive at a single intensity but Genesis music is varied, dramatic and uses the full dynamic range. So, this was repaired as much as possible. Critics of this recording appropriately note that despite this being a stereo recording, there is very little stereo separation. This was also corrected as much as possible. Clicks, pops and other sources of noise were reduced as much as possible. Small patches were used where needed and the show was tracked using standard convention.
PRRP Staff

Disc 1
1 Radio Introduction 0:48
2 Dance On A Volcano 7:11
3 The Lamb Lies Down On Broadway 4:36
4 Fly On A Windshield 3:07
5 Carpet Crawlers 6:40
6 Cinema Show 12:06
7 Robbery, Assault & Battery 6:57
8 White Mountain 7:47
9 Firth Of Fifth 8:39
Total Time: 57:51

Disc 2
1 Supper's Ready 25:13
2 I Know What I Like 6:09
3 Los Endos 8:37
4 It 3:24
5 Watcher Of The Skies 2:57
6 Radio Announcement 1:06
Total Time: 47:26

Remaster
1. Speed Correction
2. Tone Adjustment
3. Correct flat dynamics
4. Enhance stereo field where possible
5. Reduce noise were necessary
6. Re-Track

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I hope that you've enjoyed the Genesis this week. There will be more but not for a little while ;)

Genesis: Solihull 1972 (PRRP Aud Remaster) FLAC

PRRPGS005- GENESIS SERIES - WATCHER OF ALL
Jul 25, 1972 (Civic Hall - Solihull, England)

1. Watcher of the Skies 7:52
2. Story Of Thomas S. Eiselburg 2:05
3. Stagnation 8:36
4. Story Of The First Hermaphrodite 1:46
5. The Fountain of Salmacis 7:52
6. Introducing The Triangle 1:11
7. Twilight Alehouse 7:48
8. Story Of Henry 1:27
9. The Musical Box 10:28
10. Story Of A Large Weed 0:52
11. The Return of the Giant Hogweed 7:45

Genesis
Peter Gabriel- Lead Vocals- Flute and Percussion
Tony Banks- Keyboards- 12 String and Backing Vocals
Mike Rutherford- Bass Guitars- Guitars and Backing Vocals
Steve Hackett- Lead Guitars and Effects
Phil Collins- Drums- Percussion and Backing Vocals

The Making Of A Great Rock Band 
1972 was indeed a busy year for Genesis. As detailed in Alan Hewitt’s book, “A Genesis Chronicle”, the total number of gigs they played that year alone may have approached 160, in addition to which the band found time to write, rehearse and record a new album – the groundbreaking “Foxtrot”.
A grueling schedule to say the least, but all this hard work was beneficial in many ways. Almost constantly on the road, the group was growing into a tighter and more proficient unit. Phil Collins and Steve Hackett were gaining confidence and their contributions were already proving to be vital to the classic Genesis sound. The spring and summer of 1972 saw Genesis drawing more and more attention from progressive music fans throughout Europe, with first a milestone appearance at the Great Western Festival in Lincoln where they premiered a new song, ‘Watcher Of The Skies’, which was destined to become one of their all-time classics. This was followed by unforgettable performances at Watford Town Hall on June 25th and the Olympia in Paris the next day.
By the time Genesis reached the Civic Hall in Solihull on July 25th, the “Nursery Cryme” show had become a well-oiled machine that was earning new fans for the band all the time. PRRP recently released a sparkling remaster of the aforementioned Watford concert, a fine example of the power and energy of a Genesis show from those formative days. In Solihull, the band offered yet another polished performance of most of their stage favourites, including the manic “Twilight Alehouse”, which many expected to find on the next Genesis album. As we all know, it wasn’t to be. Fans would have to wait another year or so for a studio version of the song to finally surface as a B-side of the ‘I Know What I Like’ single.
The Solihull concert, which we bring you here, clearly demonstrates the band’s continued process of evolution. When presented at Watford Town Hall in June, ‘Watcher Of The Skies’ was still very much a work-in-progress, but by the time of the Solihull show, only a month later, it was already fast-approaching its definitive version. Furthermore, the song was now steadily performed as the opening number, a position it would hold for two years until the end of the “Selling England By The Pound” tour in 1974. It never failed to set the atmosphere for the concert and grab the audience’s attention from the start. At Solihull, ‘The Musical Box’ was played towards the end of the set where its powerful climax pave the way for an energetic and devastating rendition of ‘The Return Of The Giant Hogweed’, the band’s favourite closing number at the time. Sadly, ‘The Knife’, another fan favourite that the band often played as an encore, was omitted that night but the great performance of all the numbers more than made up for that.
Things were indeed going well for Genesis in the summer of 1972, creatively if not financially. From Charisma’s point of view, the band were still a financial nightmare, but Tony Stratton-Smith’s unfailing confidence in them was still as strong as ever and he kept on backing them all the way. His faith in Genesis would soon be rewarded. On October 21st, 1972, the band launched their fourth album, “Foxtrot”. It would explore new frontiers in rock music and open many doors for Genesis. The epic ‘Supper’s Ready’ was rightfully hailed as the band’s masterpiece. That song would become the centerpiece of the increasingly elaborate stage shows that the band would soon start to devise. If there is one year that can be defined as pivotal for Genesis, it most certainly was 1972 –the year of the making of a great rock band. Enjoy the show! 

Notes from the Re-Master 
We began with a CD copy of the master tape for this project. The complete show was here so no patches were needed. After loading it onto the system it was clear that Hiss was a major problem. Many techniques were evaluated before selecting the proper one for noise reduction. The tonality was off, requiring a boost in the bass and a dynamic midrange reduction for harsh-ness during the louder sections. The balance was also off and was equalized. The dialogue was low in volume compared to the rest of the show so it was boosted for better clarity. A few dropouts were found that required patching but no material outside of the original recording was needed to correct these imperfections. The dynamics were also found to be very irregular. Knowing these songs well, the dynamics were adjusted to produce a more natural, expected feel to them. Songs were re-tracked and the show was saved.

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Pink Floyd: The Coming Of Kohoutek 1972 (VG+ Aud Vinyl) shn

1972.02.20 - In Celebration Of The Comet (The Coming Of Kohoutek) - LP Vinyl Transfer
Venue: Rainbow Theatre – London, UK
Many listings state the date of this performance was 1972.02.17, when reportedly the actual date was 1972.02.20.
Lineage: Audience (details unknown) > Original Vinyl (TAKRL 1903) > NAD 5120 turntable + Nagaoka MP-11 Cartridge > SP-2 Stereo Phono Preamplifier > CD Spin Doctor > aiff > flac level 6 > you. Sound quality is B+ or better.

This is a popular and widely circulated bootleg album from Pink Floyd. The performance featured a musical piece referred to at the time as "The Eclipse Suite," which would later become "Dark Side of the Moon."

Note the song titles: “The Travel Sequence,” “The Mortality Sequence,” and “The Scat Sequence,” which later evolved into “On The Run,” “The Great Gig In The Sky,” and “Any Colour You Like.”

OU: I purchased this album in the 1970’s & with little wear it has maintained its luster, although some snap, crackle & pop exist. I did no post-transfer treatments. The center hole of the vinyl is a tad bit off center, which may add a bit of wobble.

Scan composite of the cover is included also. Enjoy.

Side One (20:33)
01. Breathe
02. The Travel Sequence
03. Time
04. The Mortality Sequence

Side Two (20:45)
05. The Mortality Sequence (ends)
06. Money
07. Us & Them
08. The Scat Sequence
09. Brain Damage
10. Eclipse

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Genesis: Manchester 1980 (VG+ Aud PRRP Remaster) FLAC

PRRPGS015- Duke's Apollo
Date: 18-Apr-1980
Venue: Apollo Theatre, Manchester, UK

1.1 Deep In The Motherlode
1.2 Dancing With The Moonlit Knight
1.3 Carpet Crawlers
1.4 Squonk
1.5 One For The Vine
1.6 The Story of Albert
1.7 Behind The Lines
1.8 Duchess
1.9 Guide Vocal
1.10 Turn It On Again
1.11 Duke's Travels
1.12 Duke's EndS

2.1 The Story of Sid
2.2 Say It's Alright Joe
2.3 The Story of a Hero and a Villian
2.4 The Lady Lies
2.5 The Story of the Smoke Machines
2.6 Ripples
2.7 Introducing Guests
2.8 In The Cage
2.9 The Colony of Slippermen
2.10 Afterglow
2.11 Follow You, Follow Me
2.12 Dance On A Volcano
2.13 Drum Duet
2.14 Los Endos
2.15 I Know What I Like
2.16 The Knife

This remaster project began with the master tapes of the show. This source has previously been uncirculated, a new find for the Genesis community. The show is complete here, except for tape flip gaps. Because the taper wanted to capture the whole Duke Suite on a separate tape from the rest of the show, additional points of swapping tapes occurred, which, in turn, resulted in additional gaps. These needed to be patched. There is a widely circulated, poor quality, alternative source of this show which was used to patch these gaps. There is a significant difference in the quality of these two sources so the patches are rather obvious when they are encountered. We felt it was better to patch the gaps with material from this actual show, to maintain the historic consistency, rather than use higher quality material from a different show. Once the gaps were patched, the show was put together in the original order and sequence. The tapes were digitized in 32-bit, 44.1 kHz format for the work.
Speed was an issue with this recording. A close analysis showed a fairly consistent speed error throughout the show that was easily corrected. The acoustics of the venue also worked against us. The hall characteristics and the location of the taper produced a tonality imbalance that needed correction after the speed error was fixed.
Hiss, hum and other tape noises were readily identified and reduced as much as possible. The auto-record-level feature introduced unintended suppressions in the recording that needed to be restored and repaired. The microphones also had an uneven response and became more sensitive to midrange frequencies during loud sections of the music. Dynamic filters were necessary to fix this problem and even out the tonality throughout the show.
At some points during the show, the tonality shifts and becomes less detailed and more muffled. Corresponding directly with the taper about this, he remembers the security guards being out in force. This caused him to occasionally hide the microphones to avoid detection and this produced the tonality change. The stereo field also shifts quite noticeably at these points. These sections were adjusted as much as possible to correct the imbalance.
In some sections there was distortion of the recording. Many techniques were used and tried to correct the problem but eventually, decisions were made to optimize the sound at the expense of quality. Fortunately, they are not too obvious. The show was then balanced and tracked and converted to CD Audio, 16-bit format to produce the final result.
PRRP Staff

Men Of Our Times
For British fans of Genesis keen to see their favourite band play live, 1978 and 1979 were lean years indeed. '...And Then There Were Three...' was supported by the band's only UK performance in 1978, at the Knebworth festival on June 24th, while 1979 saw no live dates on British soil at all. Undergoing personal problems at the time, Phil Collins relocated to Vancouver in an attempt to save his collapsing marriage, explaining to Tony and Mike, "If you don't mind coming to Vancouver to record, then we've still got a group. But if you can't, then this is the end." Wisely, his bandmates' response was to allow Phil all the time he needed to sort out his private difficulties.
Although essentially a year off for Genesis, 1979 nevertheless turned out to be a productive year for the individual members of the band. Tony and Mike recorded their first solo albums, 'A Curious Feeling' and 'Smallcreep's Day' respectively, and Phil whose move to Canada lasted only two months, returned to England, resigned to the break-up of his marriage. He began pouring his emotions into a series of heartfelt songs which would become his debut solo album, 'Face Value'. "Because I wasn't very articulate," Phil remembered, "or felt that I wasn't very articulate, I was writing these songs as messages in some respects. The songwriting was like keeping a diary."
In October that year, Tony, Mike and Phil reconvened as Genesis, setting up in Phil's otherwise empty house to begin working on new group material for their tenth studio album, 'Duke'. Phil: "Mike and Tony finished their albums and we decided to get back to do a group album, so everybody moved into my house because I was living on my own. The studio was in the master bedroom, which basically had nothing in it apart from my piano, the keyboards and the demo equipment. There was a secondary bedroom which I also took everything out of and put the Genesis equipment in".
Having used up the majority of their individually written songs on their solo projects, the trio returned to improvising together and developing group compositions, as they had done in the early years. Mike: "Having been out there doing solo work, I felt, probably subconsciously, it would be good to get back to what we used to do, which was writing together. And with 'Duke' we turned that corner".
Central to the album was the so-called 'Duke Suite', a collection of six tracks ('Behind The Lines', 'Duchess', 'Guide Vocal', 'Turn It On Again', 'Duke's Travels' and 'Duke's End') which had been conceived as one long piece, lasting 25 minutes, as Tony recalled: “At one point, we were going to join together all the group compositions on the album –they were all going to be one long song. But we decided for a variety of reasons to keep them separate. We felt that the album wouldn't be so well balanced if we had all the individual tracks on one side. The other thing was, we didn't want to repeat ourselves; you know, having done something like 'Supper's Ready' a long time ago...there would be comparisons and we didn't really want that". Instead, the suite was broken up into individual tracks, only being joined together again, as originally intended, when the band took to the road to play the new material live.
Conscious of the changing musical climate at the time, Genesis were keen not to become a parody of themselves and in fact rejected a fair amount of material they had come up with during the writing process, considering it too similar to previous tracks they had written. When the album was completed, Mike Rutherford explained: "There isn't really any definite concept behind the album, although there are a couple of numbers with compatible themes. The cover concept, using Koechlin's children's book character to tie things together, was rather an after-thought. I suppose he just represents the little Everyman character who is a bit confused by life in the eighties. Some of the songs reflect that worry, though there is no consistent line throughout the album."
In many ways, 'Duke' was a pivotal album for Genesis, the strength of the group compositions serving to reunite the trio of core members, and to this day Tony Banks remains very proud of it: "'Duke' is my favourite Genesis album. It was a good time all round in our career. It was far and away our most successful album, our first number one album in the UK, even a bit of a hit in the States where 'Misunderstanding' did well as a single. It was a good moment. When I hear it now there is still something about the opening of 'Behind the Lines'. It's so optimistic".
'Duke' was released in March 1980, preceded by the unexpected hit single 'Turn It On Again', and with the album's release came the surprise announcement that Genesis would be undertaking a full six-week 40-date British tour which would concentrate on provincial theatres rather than stadiums. Demand for tickets was unprecedented, with fans queuing up to four nights outside the theatre box offices in the icy British weather (for which dedication Phil pays thanks on this recording). Needless to say, the tour wasted no time in selling out. An extra date was added at London's Theatre Royal, Drury Lane (the scene of another Genesis triumph several years earlier) and when that also sold out, there were further additional London dates, at the Lyceum Ballroom. The band even made a return to Friar's in Aylesbury, the club which had supported them so fervently in the early 1970s.
By the time the tour reached Manchester in April, the 'Duke' show was a polished and highly efficient two-hour Genesis performance. Phil's transition from remarkable drummer to entertaining frontman (with dubious taste in Hawaiian shirts!) was complete, his confidence obvious to everyone. This previously unreleased recording of the first of two nights at Manchester's Apollo theatre is a fine memento of what was arguably the last truly great Genesis tour.

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Hawkwind: Birmingham 1971 (VG+ Aud) FLAC

Kinetic Playground 12.12.71 Flac

01. Technicians Of Spaceship Earth 3.41
02. You Shouldn't Do That 10.22
03. Awakening 2.16
04. Only Dreaming 4.43
05. Spirit Of The Age 1.38
06. Master Of The Universe 6.27
07. Paranoia 4.41
08. Earth Calling 1.55
09. Silver Machine 5.00
10. Welcome 2.55
11. Born To Go 32.20
12. (Bootleggers sound effects ending) 0.35
Total running time 76 mins 33 secs

Band:
Dave Brock: Guitar/Vocals
Twink: Drums
Nik Turner: Flute/Sax
Dik Mik: Audio Generator/Electronics
Lemmy: Bass Guitar
Del Dettmar: Synthesisers
Robert Calvert: Vocals/Poet/Swazzle

Sound quality: 7+/10

OU Notes: This is a direct recording of a single silver disc I have entitled "Kinetic Playground" and it was culled from a gig at the Kinetic Playground Birmingham on 3rd December 1971, although all the artwork states that this gig took place on
6-12-71.
The online Hawkwind fans gig guides have it listed as 3-12-71, so I suppose you pays your money and you take your chance on that!
I purchased this disc at a UK record fair a few years ago and it cost me £14.
This is what a review in the "Melody Maker" music paper made of this particular gig:
"Hawkwinds gig at Birmingham's Kinetic Playground appeared doomed right from the start. Nik Turner misplaced his alto sax and was forced to play all alto parts on flute. Which resulted in a distinct loss of fullness of sound. Then the roadie mislaid drummer Terry Ollis - but managed to pick up a last minute replacement in Pink Fairie/Pretty Thing-Twink!
Fortunately Twink is a mate of Hawkwind from way back and is conversant with most of the material. His major hang ups occured in You Shouldn't Do That (which was taken much slower than usual) and Born To Go which disintegrated into a most enjoyable jam. To add to these hang ups the PA refused to function properly whilst guitarist
Dave Brock spent as much time encouraging his equipment to work as he did playing through it.
In these circumstances it would be grossly unfair to be at all critical - especially as the band battled on for 75 minutes without making a big thing of their problems. Many bands would have just have given up. Apart from material from their current album "In Search Of Space" they played "Paranoia" from their first album and "Earth Calling", "Silver Machine", and "Born To Go" from their next!
Hawkwinds entire act takes place in a doomy, gloomy, space age atmosphere - shadow figures of the band lit up flashing footlights.
Luminous symbols, decorating drums and speaker cabinets and a disturbingley hypnotic strobe directed at the audience.
The music is heavy electronic repetitive and compelling. The band claim that it is specifically aimed at dope freaks, certainly seems to be valid - it rather flashes past we Tizer drinkers! Jim Simpson Melody Maker 11 December 1971"
There are many highlights with this recording especially the sound quality as it is actually very very good, bearing in mind this is a 1971 audience recording (and the trouble the band had with the PA), and I would the sound rate it at 7/10 or Ex.
Also it's great to hear a very early version of "The Spirit Of The Age" which is actually a spoken poem by Calvert.
But the real highlight for me is a 32 minute jamming version of Born To Go which is worth the entrance money alone, and if you like Hawkwind this is a true must have!
Also you can sense the real power of the band crackling and radiating from the stage, and you can sense how the band one year later would blow everyone's mind with their "Space Ritual Tour"
It's also great to hear a raw early recording of Lemmy's bass guitar in full, with it absolutely assualting the ear drums, fantastic stuff I wish I could have been there!
As always share freely but NEVER sell.
Lets remember Hawkwind are a current active touring band so support them by going to gigs, buying their cd's and merchandise etc.
Check here for the bands current trading/recording policy: http://www.hawkwindmuseum.co.uk/trading%20rules.htm
You can also find detailed info on their re-issue back catologue here: http://cherryred.co.uk/atomhenge/main.htm

Anyway please enjoy another very good sounding 70's show. My thanks also to the band for allowing fans to share recordings like this. I hope you enjoy it!
Cheers

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Peter Gabriel: Exeter 1980 (VG Aud) FLAC

2-20-1980
Fresh transfer From master tapes
OU Description: I'm Delighted to be able to upload this previously uncirculated show AND INDEED unlisted recording.

Lineage: master cassette>yamaha cassette deck to pc via an M -audio Delta audiophile 2496 card>audicity >TLH>FLAC
Thanks to my very Good friend MMB whose transfers from his COLLECTION of tape and dat masters Continue TO DELIGHT ..
This we move onto MY personel favourite PG tour (no secret THERE lol) ....the 1980 tour titled CHINA 1984.

Cd 1
Intruder
The Start/I Dont Remember
Solsbury Hill
Family Snapshot
Milgrims 37
Modern Love
Not One Of Us
Lead A Normal Life
Moribund The Burgermeister
Mother Of Violence
Humdrum

Cd 2
Bully For You
And Thru The Wire
I Go Swimming
Biko
On The Air
Here Comes The Flood

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Genesis: Phoenix 1975 (Soundboard) FLAC

Civic Plaza Assembly Hall, Phoenix AZ
January 28, 1975
Source: GASP 010 soundboard.

Disc 1
1. The Lamb Lies Down On Broadway 5:08
2. Fly On A Windshield 2:47
3. Broadway Melody Of 1974 2:17
4. Cuckoo Cocoon 2:15
5. In The Cage 8:10
6. The Grand Parade Of Lifeless Packaging 2:58
7. Rael Story Part 1 1:52
8. Back In NYC 6:15
9. Hairless Heart 2:28
10. Counting Out Time 3:55
11. Carpet Crawlers 5:45
12. The Chamber Of 32 Doors 5:53
Total Time: 49:43

Disc 2
1. Rael Story Part 2 3:33
2. Lillywhite Lillith 2:57
3. The Waiting Room 5:59
4. Anyway 3:27
5. Here Comes The Supernatural Anaesthetist 3:42
6. The Lamia 7:09
7. Silent Sorrow In Empty Boats 3:32
8. The Colony Of Slippermen 8:46
9. Ravine 1:39
10. The Light Dies Down On Broadway 3:36
11. Riding The Scree 4:17
12. In The Rapids 2:25
13. It 4:17
14. The Musical Box 11:11
Total Time: 66:30

Remaster
1. Speed error identified and corrected.
2. Tonality adjusted.
3. Stereo imbalance corrected.
4. Equipment buzz reduced as much as possible.
5. Volume distortion in loud sections like Grand Parade...uncorrectable.
6. Dynamics corrected and enhanced.
7. Clicks, pops and other noises removed as much as possible.
8. Missing sections repaired.
9. Discs re-balanced with Disc 1 ending before second Rael Story.
10. Re-tracked using standard references as a guide.

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Marillion: Den Haag 1983 (FM) FLAC

1983-07-03 Forgotten Sons (Den Haag, The Netherlands) [FM] Flac
Taper: Unknown
Source: CD bootleg
Transfer: CD > WAV > FLAC > you
Artwork - Included

1. Garden Party
2. Script For A Jesters Tear
3. Charting The Single
4. Assassing
5. Forgotten Sons
6. Market Square Heroes

Band:

Vocals: Fish
Guitar: Steve Rothery
Bass: Pete Trewavas
Drums: Andy Ward
Keyboard: Mark Kelly
This is from an a CD bootleg entitled “Forgotten Sons” It was also released as the LP boot “Jester”.
The original source of the recording is a FM broadcast so the sound is great.

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Pink Floyd: Dallas 1972 (VG- Aud) shn

1972-09-10 McFarlin Auditorium Dallas Texas (T-717)
OU Notes: I got the cassette tape for this in trade from a guy in Dallas in the late 70's. Not the best sound you ever heard. It's an incomplete recording of the show starting with The Great Gig In The Sky. You can hear a couple of guys talking about "no level at all" so I'm guessing there was a problem and they missed recording the beginning of the show. It had some flutter at the beginning of Us and Them and some broken songs. I put the songs back together and got the best sound out of it I could. I did the editing, analog to digital transfer and the artwork for this version of this show. Please keep the artwork and text file, unaltered, together with the SHN's.
Mics and recorder unknown> Cassette generation unknown
Playback Deck: Tascam 130 > Nikko 32 Band EQ > Akai DR16 Digital Hard Disk Recorder >
Sony PCM-R500 DAT Recorder > Sony DAT Tape > HHB CDR-800 Compact Disc Recorder >
HHB CDR > WAV > SHN

Disc 1
1. The Great Gig In The Sky
2. Money
3. Us And Them
4. Any Colour You Like
5. Brain Damage
6. Eclipse

Disc 2
1. One Of These Days
2. Careful With That Axe, Eugene
3. Set The Controls For The Heart Of The Sun
4. Echoes

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Midnight Oil: Melbourne 2009 (FM) FLAC

Sound Relief Benefit Concert
MCG (Melbourne Cricket Ground)
14th March 2009

FM Master > FLAC
Lineage = Sony STR-DE598 FM Tuner > Marantz DR700 CD Recorder > EAC > Adobe Audition > CDWave > FLAC
Recorded, Edited and Upped by Franger
Recorded by Triple J. Legends!

01. Intro
02. Redneck Wonderland
03. Read About It
04. Blue Sky Mine
05. Advance Australia Fair
06. One Country
07. Beds Are Burning
08. King Of The Mountain
09. The Dead Heart
10. The Power and The Passion
11. Best of Both Worlds
12. Encore Break
13. Sometimes

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Lynyrd Skynyrd: Cape Cod 1976 (Dan Lampinski Aud Master) FLAC

Cape Cod Coliseum
Cape Cod, MA
27 August 1976
Master audience recording taped by Dan Lampinski

01 Workin' For MCA
02 I Ain't The One
03 Saturday Night Special (spliced)
04 Searching
05 Travellin' Man
06 Gimme Three Steps
07 Call Me The Breeze
08 T For Texas
09 Sweet Home Alabama
10 Freebird (spliced)

opening for Jeff Beck and the Jan Hammer Group
Sony TC-152SD Tape Recorder
Sony ECM-99 Stereo Microphone
Maxell cassettes

Mastered and FLAC'ed by Carl Morstadt (dantalion8@yahoo.com)
Master Cassette -> Nakamichi CR-3A cassette deck with azimuth correction -> M-Audio Firewire Audiophile 2496 -> CDWAV 24-bit/96-KHz wav files -> Goldwave (normalizing and crossfades) -> CDWAV (track breaks) -> dBpowerAMP Audio Converter (24-bit/96-KHz wav files converted to 16-bit/44.1 KHz wav files) -> FLAC Front End (FLAC 8 with sector boundary alignment)
FLAC files tagged with Foobar2000 Live Show Tagger
No EQ'ing.

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I couldn't wait - (felt like a highscooler on his first date).

MUSE: Berlin September 2009 (FM) FLAC

Admiralspalast, Berlin (Germany) September 7, 2009

01 Intro
02 Uprising
03 Supermassive Black Hole
04 Hysteria
05 New Born
06 United States Of Eurasia
07 Starlight
08 Undisclosed Desires
09 Time Is Running Out
10 Unnatural Selection
11 Plug In Baby
12 The Harmonica Man (Ennio Morricone Cover)
13 Knights of Cydonia

Complete broadcast though not the complete concert
Fritz Broadcast (September 10, 2009)

Analog Cable > Onkyo T9900 > Edirol R-09 > USB > WAV > Adobe Audition (Normalizing) > CDwave (tracking) > FLAC frontend (level 6, verify, with align on sector boundaries) > Tracker

I also included all official Muse press shots for 2009 + photos of them recording their latest album. -Dave

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Simple Minds: Büsum 2009 (FM) FLAC

DATE: 2009-08-22
CITY: Büsum
VENUE: Bühne am Hauptstrand - live at stars@ndr2 summer event
SUPPORT the artist, go see them live and buy their stuff!
QUALITY: 9+/10
SOURCE: FM MASTER
LINEAGE: Grundig FineArts T-IR / AS-IR > SoundBlaster X-Fi > HDD > WAV > (raw / unedited), crossfadings, track splitting > FLAC, level 8

shots from this show: http://www.ndr2.de/events/bildershow564.html

TRACKLIST:
01 DJ Intro
02 Don't You (Forget About Me)
03 Love Song
04 DJ talk + interview with fans
05 Mandela Day **
06 See The Lights **
07 Stars Will Lead The Way
08 Rockets **
09 New Gold Dream
10 Someone Somewhere **
11 Home
** DJ talk at the end

(OU) GIG INFO: Listen up you Simple Minds fans, I did NOT edited this gig, it DOES have the DJ blabbering at the end of some songs and station IDs. But I did cut off all crap like traffic warnings and even the latest sport news. Songs are complete and the host didn't talked into the songs, but over the audience in-between some of the songs. So you'll notice when I added some crossfades to get rid of the most nonsense, that's the way it was aired ~
This gig was broadcasted by northern german station NDR2 at 7th September 2009, they will also show it on NDR TV at the 25th September, maybe the full gig of plus 90 minutes - in case you want to record it!

I also obtained and included some excellent hi-res (3100X2000!) photos for you so that you could make artwork if desired. -Dave

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Genesis: Lakeland 1975 (PRRP Soundboard Remaster) FLAC

PRRPGS 018
January 11, 1975
Lakeland Theater, Lakeland FL
Soundboard Recording - GASP 016 Source

Disc 1
1. The Lamb Lies Down On Broadway 5:11
2. Fly On A Windshield 2:37
3. Broadway Melody Of 1974 2:17
4. Cuckoo Cocoon 2:15
5. In The Cage 8:20
6. The Grand Parade Of Lifeless Packaging 3:11
7. Rael's Story Part 1 1:16
8. Back In NYC 6:13
9. Hairless Heart 2:30
10. Counting Out Time 3:52
11. Carpet Crawlers 5:47
12. The Chamber Of 32 Doors 5:50
Total Time 49:19

Disc 2
1. Rael's Story Part 2 3:28
2. Lilywhite Lilith 2:59
3. The Waiting Room 5:24
4. Anyway 3:27
5. Here Comes The Supernatural Anaesthetist 2:30
6. Interlude 1:18
7. The Lamia 7:12
8. Silent Sorrow In Empty Boats 3:22
9. The Colony Of Slippermen 8:47
10. Ravine 1:44
11. The Light Dies Down On Broadway 3:38
12. Riding The Scree 4:33
13. In The Rapids 2:26
14. It 4:49
15. The Musical Box 11:03
Total Time 66:40

The Lamb Lives
When Genesis arrived in North America, in the late fall of 1974, to begin their ‘Lamb Lies Down On Broadway’ tour, it would certainly not be an overstatement to say that the odds were stacked against them. The album had not yet been released in America, Steve Hackett was still recovering from a bad hand injury which made playing the guitar very difficult for him and, most of all, the band were facing the formidable prospect of performing over ninety minutes of brand new material which they had never played on stage before. And that was only on the surface. A fierce battle was raging in Peter Gabriel’s mind, the difficult events surrounding the birth of his first daughter and the creation of the celebrated double album having taken their toll on him. With the band about to undertake their most demanding world tour to date, he was contemplating leaving Genesis for good.
In Cleveland, Ohio, only a few gigs into the tour, Peter Gabriel confided in manager Tony Smith that he would be quitting the band after the tour. The singer then proceeded to break the news to his band colleagues and a huge wave of disbelief and despondency engulfed the Genesis camp in an instant. The other band members, especially his old school friend Tony Banks, tried desperately to persuade Peter to change his mind, but to no avail. With this heavy atmosphere, it is hardly surprising that the first weeks spent promoting the new album turned out to be a painful experience for all concerned. However, when the band resumed the North American tour after the Christmas holiday, the tension had begun to lift a little. With the initial shock of Gabriel’s decision beginning to subside, Genesis, being the consummate perfectionists that they always were, returned to the ‘Lamb’ tour with fierce determination. By now, the album had become a more familiar set piece for both band and audience, and each performance improved in confidence and power.
The ‘Lamb’ show, although a controversial one in shape and form, became an instant classic. While the band members themselves mostly disagree with that assessment, insisting that something always went wrong during the shows or that some of the songs were not best suited to being performed live, for the fans it was nothing less than a total triumph. Over three decades after the event, new live recordings of ‘Lamb’ shows are still highly sought after by Genesis fans the world over.
For nearly 20 years, avid ‘Lamb’ fans did not have much to rejoice about as far as live recordings were concerned. One of the Los Angeles performances was recorded by the King Biscuit team, one of the Wembley shows was recorded by the BBC, but in both cases only highlights of the concert ever reached the airwaves. As for audience recordings, only a handful (and often not the best) emerged as bootleg LPs, none of them offering a full ‘Lamb’ show, complete with encores. Patient fans had to wait until the mid-nineties for some full ‘Lamb’ live recordings to finally surface. The two most notorious shows to appear on bootleg CDs at the time were soundboard recordings of two Florida concerts: West Palm Beach, recorded on January 10th, 1975, released by the Oxygen label under the title of ‘The Lamb Descends On Waterbury’ (???), and Lakeland, from January 11th, 1975, released on the Backstage label under the title of
‘The Lamb Lives’. It is now known that both these recordings were doctored with patches used to fill in some missing segments but, at the time, the release of both CDs came as a welcome surprise for all Genesis fans. For the first time, fans could finally hear a full ‘Lamb’ performance presented in fantastic sound quality.
In the years that followed the release of these CDs, many other ‘Lamb’ shows have seen the light of day, each one as interesting as the next but, for its great quality both in sound and performance, the Lakeland show has remained a favourite among devotees. A few years ago, a lower generation version of this recording began to make the rounds in trading circles, giving birth to a couple of excellent remasters from SAB and BURP. A still lower generation recording was discovered recently and it is on this version that PRRP has based this brand new remaster. Purists will most likely frown a little, but we have decided to use segments from another show to fill in the missing sections and offer a more complete listening experience. We have drawn the line at Peter Gabriel’s story to introduce ‘The Musical Box’, however. Since he tended to vary the story a little from one night to the next, it would have been inaccurate to use the introduction from another show. Enjoy!

Notes from the Re-Master
Fans of Genesis have been quite blessed recently with the release of so many Soundboard and Open Air Microphone recordings of the Lamb. For this remaster project we began with a FLAC version of GASP 016, the Genesis Lakeland ’75 show. This recording has always had a reputation for high quality and now, with the release of the master from the GASP group, the audio experience is made even better. Still, analysis of this recording did reveal flaws that required correction.
As usual with recordings of this age, many clicks, pop and other tape imperfections were found and corrected. A simple channel imbalance was also present and corrected as were the overall dynamics of the recording to provide a consistency of volume for both the quiet and loud sections of the show. But the most obvious problem with the show was the tape speed. It is clear that two tapes were used to record the show and each had its own speed error. Now corrected, the recording truly shines not only as a good audio capture but also as a great performance of the Lamb. Sections of the show were unfortunately missing but were patched to provide the full show for your listening pleasure. The final step was to track the show in accordance with known standard references.
Remaster
1. Speed errors corrected.
2. Repair tape imperfections (rubs, clicks, pops, etc.)
3. Reduce intermittent buzz.
4. Patch gaps, including adding back "Anyway" which was missing.
5. Adjust dynamics.
6. Correct channel imbalances where they occurred.
7. Re-track and split discs before second Rael Story.

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Kraftwerk: London 1991 (VG Aud) FLAC

Brixton Academy, London, England
July 20th 1991 (2nd night)

Line-up:
Ralf Hütter
Fernando Abrantes
Fritz Hilpert
Florian Schneider

Source: Audience
Quality: Very Good
Lineage: Cassette > CDR > EAC > WAV > Trader's Little Helper > FLAC Level 8

-- Setlist --
DISC 1:
01 Intro (1:05)
02 Numbers (4:54)
03 Computer World (4:43)
04 Home Computer (8:21)
05 Computer Love (6:44)
06 The Model (4:06)
07 Tour De France (7:42)
08 Autobahn (11:59)
09 Radioactivity (6:54)
10 Trans Europe Express > Abzug > Metal On Metal (10:33)

DISC 2:
01 The Robots (5:39)
02 Robotronik (4:14)
03 Pocket Calculator (13:41)
04 Music Non Stop (14:48)


Info: This is the last concert from The Mix tour first leg, which was exclusive to England and Scotland and also the last live performance of Fernando Abrantes with Kraftwerk.

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Genesis: Academy of Music 1974 (VG+ Aud PRRP Remaster) FLAC

Academy of Music, New York.
4th May 1974
PRRPGS013 - One For The Roadies
It was May 4th 1974. Genesis had spent many months on the road since September 1973. The ‘Selling England By The Pound’ tour was now drawing to a close, with only three more shows left to perform. Much has been said about this classic Genesis album and tour, and of the band’s three-day stay at the Academy of Music in New York City. May 5th would see Genesis fall victim to equipment theft, forcing them to cancel that night’s gig and perform a double-header on the following day. No complete recordings of these last two shows on May 6th are known to exist. The last complete recorded performance of a ‘Selling England By The Pound’ show comes from May 4th, and it is this recording which we bring to you now.
In terms of sound quality, this show stands out as perhaps the best audience recording from the whole tour. The balance is almost perfect (Steve Hackett’s guitar sounds a little distant at times) and the overall sound is crisp and clear. Bass lines have excellent depth while higher frequencies reveal every tiny percussive detail, something quite rare in audience recordings. The lead vocals are well balanced in the mix, with every word and intonation clearly heard. One can almost visualise Peter Gabriel pulling away from the microphone as he always did when he had to push his voice to hit the higher notes. The quality of this recording suggests that the taper had excellent equipment while the overall balance shows that he was very well positioned in the hall. The acoustics of the Academy of Music were outstanding.
As for the performance, May 4th, 1974 saw Genesis in fine form, despite the fatigue of the long tour and the frustration of having to deal with annoying technical problems. The in-between song banter shows just how patient and inventive Peter and Phil could be when they needed to inject some humour into the proceedings to relieve the tension caused by those nerve-wracking gaps. This kind of spontaneity always created a real bond between the band and their audience. A solid connection with the audience has always been one of the band’s strong points, and this night was no exception. As was so often the case, it was Mike Rutherford’s equipment which was the source of the trouble, but the big man’s performance did not suffer and he was, as usual, solid as a rock.
Steve Hackett was his classic self, delivering a perfect mixture of raw aggression and emotional, delicate licks. Tony Banks, perhaps the least demonstrative of all star keyboard players, also offered one of his finest performances of the entire tour, despite a strange mellotron hiccup during the instrumental section of ‘The Cinema Show’. He soon made up for that one by offering a spotless rendition of the piano intro to ‘Firth Of Fifth’, not an easy feat on his old electric piano. Peter Gabriel’s voice was in fine form on the night, though surprisingly he did forget one verse towards the end of ‘Supper’s Ready’, a rare occurrence indeed. Peter went into the next verse quite quickly, throwing his band mates for a second or two in the process.
Someone once said that a band is only as good as its drummer, and we believe this is very true. Phil Collins once remarked: “A bad band with a great drummer will sound better than a great band with a bad drummer.” Well, Genesis were truly blessed by being a great band whose world-class drummer made them sound even greater. One cannot emphasise enough the quality of Phil’s drumming over the years. He was, and still is, one of the most inventive and musical percussionists in rock. His work on Genesis studio albums was always immaculate but his performance on stage could propel the music to new heights. That night in New York City, Phil was on fire, tight on every beat, each fill and roll as perfect as the last.
So, despite some minor glitches, this was an exemplary performance from Genesis, one of the best of the entire tour. With only two more shows to be performed at the same venue, the ‘Selling England By The Pound’ tour was coming to an end, leaving messrs Banks, Collins, Gabriel, Hackett and Rutherford to move on to the complexities of ‘The Lamb Lies Down On Broadway’. No-one knew at the time of course that these last few shows would be the fans’ final opportunity to see the classic five-piece line-up performing the ‘Selling England’ material live on stage, as well as ‘Horizons’ and, sadly, ‘Supper’s Ready’. Two years later, when Genesis reinstated some of these songs in their live set, Peter Gabriel was no longer with the band and the music itself had been rearranged somewhat. As for the piano intro to ‘Firth Of Fifth’, Tony would never play it again on stage after the 1973-74 tour. This concert stands as a perfect example of the lasting legacy left by these five great musicians who played together as the magical entity called Genesis. Enjoy!

Notes from the Re-Master
The most obvious problem with this recording was the speed error. It is unclear if this error was initially present on the master or on the 1st generation source for this remaster. Either way, the speed error was very noticeable and followed a predictable pattern. Once identified, it was easy to correct. Tonality was then adjusted to balance the sound. Dynamics were altered to emphasize the dramatic nature of the music. There was crackle heard intermittently which was reduced as much as possible. The show was then re-tracked.

Disc 1:
1 Watcher Of The Skies 8:34
2 Britannia Story 2:34
3 One Handed Drum Solo 1:56
4 Dancing With The Moonlit Knight 8:49
5 Romeo Story 2:11
6 Cinema Show 11:01
7 I Know What I Like 6:11
8 5 Rivers Story 2:38
9 Firth Of Fifth 9:46
Total Time: 53:40

Disc 2
1 Henry Story 3:10
2 "Some In Betweens Phil..." 1:25
3 The Musical Box 10:51
4 Horizons 2:17
5 The Battle Of Epping Forest 12:22
6 Old Michael Story 3:27
7 Supper's Ready 27:07
Total Time: 60:39

Remaster:
1. Speed error significant and variable but was corrected.
2. Tonality adjusted after speed correction to re-balance sound.
3. Dynamic filters corrected other excesses of tone and volume.
4. Re-tracked.

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Climax Blues Band: Seattle 1974 (VG+ Aud) FLAC

Date: 1974-00-00
Location: Seattle, WA
Venue: Paramount Northwest Theatre
Source: Audience
Lineage: ANA(M)>WAV [96kHz/24bit]>WAV [44.1kHz/16bit]>FLAC [Level 8]
Transfer: Nakamichi CR-7A>PreSonus FireStudio Project>Adobe Audition 3.0>Cdwave editor>FLAC frontend 1.7.1
Taping Gear: Sony ECM-22P>Sony TC-55
Taped By: JEMS
Transferred By: Mike Ziegler

Band Members:
Colin Cooper - saxophone, guitar, harmonica, vocals
Peter Haycock - guitar, vocals
Derek Holt - bass
John Cuffley - drums

Setlist:
01. Intro
02. All The Time In The World
03. I Am Constant
04. Seventh Son
05. Flight
06. So Many Roads
07. Country Hat
08. Shake your Love
09. Goin' To New York
Length: 61:58

Notes: JEMS master recording. This is a very good sounding recording. This show captures the Climax Blues Band touring in support of their FM/Live album.
Sire SAS-2-7411
Released: December 1973
Chart Peak: #107
Weeks Charted: 30
Dan Hicks & His Hot Licks were the opening act with the Climax Blues Band as the middle act. Canned Heat was the main act this night. The taper doesn't remember anything about this right down to the date or year. Based on the setlists and albums both Canned Heat and Climax Blues Band were touring in support of this show definately happened in 1974 somewhere between the beginning of January and the end of June. Every once in awhile JEMS finds a forgotten treasure sitting alone and forgotten in the archives. This and the Canned Heat set are two such examples. This is an absolutely phenomenal show and scorching live performance in general. The performance is so good even though they finish their set they are allowed to come back out and play another song(Goin' To New York) before Canned Heat takes the stage. This particular lineup of the band is one of the tightest group of musicians I've ever heard especially Colin Cooper. The guy is amazing. This is an absolutely must have highly recommended show.

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New Riders Of The Purple Sage: St. Louis 1971 (Ex FM) shn

Friday, December 10, 1971
Fox Theatre - St. Louis, MO

FMMR > PCM > R > DAT > WAV > SHN
KADI-FM Broadcast > FMMR > Sony SL-2710 BIII Beta deck + Sony PCM-501ES (record and playback on TDK EHG 750 tape) > Technics RS-1506US reel to reel deck at 7-1/2ips + TEAC AN 300 Dolby B Noise Reduction (recorded on Maxell XLI 35-90B reel tape)
Analog Reel > DAT transfer by Mark Cohen, January, 2003
DAT > SHN/CD by Noah Weiner (noahbw@attbi.com), January, 2003
Playback on TEAC X2000R reel to reel deck + Nakamichi NR-200 Dolby Decoder > Tascam DA-40 DAT deck (record) > Fostex D5 DAT deck (playback) > Turtle Beach Montego II Digital I/O > Sound Forge (wav edits and track IDs) > SHNTOOL (SBE fix) > MKW Audio
Compression Tool (shn)

note: There is a small handful of occasional digital-like glitches across the tape that were evident on the 7" reel transferred. These could not be removed effectively. They may have been created on the PCM gen itself.

DISC ONE [45:38]
01 [01:34] Sam Cutler intro & tuning
02 [04:35] Workingman's Blues
03 [07:00] Portland Woman
04 [03:50] Rainbow
05 [04:27] I Don't Know You
06 [06:19] Henry
07 [06:14] Sailing
08 [05:03] Fair Chance To Know
09 [03:14] Truck Driving Man
10 [03:22] Whatcha Gonna Do?

DISC TWO [45:29]
01 [10:29] Dirty Business
02 [06:12] Connection
03 [08:22] Last Lonely Eagle
04 [05:54] Glendale Train
05 [03:10] Hello, Mary Lou
06 [04:51] Louisiana Lady
07 [06:41] Willie And The Hand Jive

John Dawson - rhythm guitar, vocals
David Nelson - lead guitar, vocals
David Torbert - bass, vocals
Buddy Cage - pedal steel guitar
Spencer Dryden - drums

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Genesis: Colmar 1975 (PRRP Aud Remaster) FLAC

PRRPGS012-GENESIS SERIES - FROZEN PANTOMIME
Feb 28, 1975 (Le Parc Des Expositions - Colmar, France)

1-1. The Lamb Lies Down On Broadway 5:06
1-2. Fly On A Windshield 2:49
1-3. Broadway Melody Of 1974 2:15
1-4. Cuckoo Cocoon 2:21
1-5. In The Cage 8:04
1-6. The Grand Parade Of Lifeless Packaging 3:09
1-7. Story Of Rael part I 1:16
1-8. Back In NYC 6:13
1-9. Hairless Heart 2:32
1-10. Counting Out Time 3:49
1-11. The Carpet Crawlers 5:46
1-12. The Chamber Of 32 Doors 5:52

2-1. Story Of Rael part II 4:55
2-2. Lilywhite Lilith 2:58
2-3. The Waiting Room 6:15
2-4. Anyway 3:30
2-5. The Supernatural Anaesthetist 3:51
2-6. The Lamia 7:09
2-7. Silent Sorrow In Empty Boats 3:01
2-8. The Colony Of Slippermen 8:52
2-9. Ravine 1:39
2-10. The Light Dies Down On Broadway 3:35
2-11. Riding The Scree 4:33
2-12. In The Rapids 2:26
2-13. It 4:18
2-14. The Musical Box 11:08

Genesis
Peter Gabriel- Lead Vocals- Flute, Oboe and Percussion
Tony Banks- Keyboards- Backing Vocals
Mike Rutherford- Bass Guitars, Guitars and Backing Vocals
Steve Hackett- Lead Guitars and Effects
Phil Collins- Drums, Percussion and Backing Vocals

The Making Of A Classic Album 
Here we go again! PRRP is proud to present yet another great recording from the 1975 “The Lamb Lies Down On Broadway’ tour by Genesis. A classic album, a classic tour, and we have written a lot of liner notes concerning both the album and the tour. This time, let us turn to the making of the album itself, and the circumstances surrounding its creation. And who could tell the story of this great album better than those who have created it, the musicians of Genesis. These quotes from Peter Gabriel, Tony Banks, Steve Hackett, Mike Rutherford and Phil Collins were taken from various interviews given over the years. We hope that reading these will help you understand a bit better why ‘The Lamb’ is such a special album from all points of view.

Peter: Several ideas for the album were presented in order for the band to exercise a democratic vote. I knew mine was the strongest and I knew it would win – or, I knew that I could get it to win. The only other idea that was seriously considered was ‘The Little Prince’ which Mike was in favour of – a kid’s story. I thought that was too twee. This was 1974. It was pre-punk but I still thought we needed to base the story around a contemporary figure rather than a fantasy creation. We were beginning to get into the era of the big, fat super groups of the seventies and I thought, “I don’t want to go down with this Titanic.” Once the story idea had been accepted, we had all these heavy arguments about writing the lyrics. My argument was that there aren’t many novels which are written by a committee. I said, “I think this is something that only I’m going to be able to get into, in terms of understanding the characters and the situations.” I wrote indirectly about lots of my emotional experiences in ‘The Lamb’ and so I didn’t want other people colouring it.
Tony: All the lyrics were written by Peter, apart from one or two tracks, because he’d thought up the storyline. He didn’t really want anyone else to do it. \

This meant there was a division as Pete went off and wrote the lyrics, and everyone else wrote the music. By the time Pete had finished the lyrics, there were about two or three holes where there wasn’t a song and we needed to write something. ‘The Carpet Crawlers’ was one and ‘The Grand Parade Of Lifeless Packaging’ was another. 

Phil: We were living at Headley Grange, this house that Led Zeppelin, Bad Company and The Pretty Things had lived in. It was a bit of a shambles – in fact, they’d ripped the shit out of it. We were all living together and writing together and it went very well to start with. Pete had said he wanted to do all the words so Mike and Tony backed off and we were merrily churning out this music. Every time we sat down and played, something good came out. 
Mike: We started writing and it just came out very easily. After the previous album, it was a big relief. We realised quite quickly that we had three good sides – not just two good sides and another side, but three good sides. So we had to go for a double. Pete started the lyrics and it finally became apparent that we hadn’t got a chance in hell of getting it finished by the deadline.
Peter: I had this call from William Friedkin who’d seen the story I’d written on the back of the live album and he thought it indicated a weird, visual mind. He was trying to put together a sci-fi film and he wanted to get a writer who’d never been involved with Hollywood before. 
Phil: Suddenly Peter came up and said, “Do you mind if we stop for a bit?” and we all said, “No, of course we don’t want to stop.” So he said, “OK, I want to do the film so I’m leaving.” I remember we were sitting in the garden by the porch saying, “What are we going to do? We’ll carry on. We’ll have an instrumental group” which, for five minutes, was a serious idea because we had a lot of music written.
Peter: The others thought I was using the group as a springboard to jump off for my own personal success and wasn’t even bringing them along with me. But Friedkin didn’t want Genesis. He only wanted me for weird ideas, not for music. I just wanted a month to do this script outline. So I walked out.
Mike: If you push Pete into a corner, he will retreat still further. When we tried to tie him down, he just became more vague. He went off back home to Bath and that was it. We carried on writing and didn’t really think very far ahead.
Tony: Peter kept saying if this William Friedkin offer came, he would do that in preference to working with us. And I thought, “This is absurd.” There came a point where he decided to write a screenplay, so he left for a bit. Anyhow, higher authorities stepped in – I think it was Strat (Tony Stratton-Smith, manager of Charisma Records) – to try and keep us together. 
Mike: Eventually, I rang Pete one morning and said, “Well, this is silly. Come back and we’ll sort it out.” So he came back and we picked up where we left off. Slowly, as the album progressed, William Friedkin’s project became more and more vague. But once that sort of thing happens, the seeds of discontent are sown. 
Tony: It made all of us feel that he was getting fed up and it was only a matter of time before he left. But Peter made a definite commitment to finish the album before he did anything else, so we finished the album and I really enjoyed it. We used lots of moods – at times things were little more than improvisations on an idea. For instance, Mike would say, “Pharaohs going down the Nile” and he would just play two chords and instantly the rest of us would conjure up that particular mood. That one ended up on the album as ‘Fly On A Windshield’. We did that with lots of the other tracks. The best jam we had in the rehearsal room ended up being called ‘The Waiting Room’, which we called ‘The Evil Jam’. We switched off all the lights and just made noises. And the first time it was really frightening. 
Phil: ‘The Evil Jam’ started with Steve inventing noises and Tony messing around on a couple of synthesizers. We were just mucking about with some really nasty sounds. We were all getting very intense – Peter was blowing his oboe reeds into the microphone and playing his flute with the echoplex on when suddenly there was this great clap of thunder and it started raining. We all thought, “We’ve got in contact with something heavy here.” It was about five or six in the evening and we were making all these weird noises when the thunderstorm started and it began to pour down. And then we all shifted gear and got into a really melodic mood. At moments like that it really was a five-piece thing. We worked well together on ‘The Lamb’. The two albums gave us room to do it. 
Steve: I was an innocent bystander on ‘The Lamb’. It happened despite me, not with me. All the things that I’d managed to hold back on ‘Selling England By The Pound’ seemed to come back in full force here…the nightmarishly long sides, everything linked to everything else. I really felt it was very indulgent. I couldn’t quite get to grips with it or contribute something great in a guitar sense.
Phil: After we had prepared all our material, we went to another house in Wales to record. We put down the backing tracks in two weeks, and a month later we were still waiting for the words. Peter was well behind. Then he started saying’ “I need another piece of music to link these two songs.” We got bored with it in the end and nobody could help him because he was determined to do it on his own.
Steve: We ran out of time at Headley Grange so we didn’t get to record there. And that was a shame because we all liked the drum sound on the Zeppelin album (Physical Graffiti), in particular ‘Kashmir’ which I gather was recorded using the stairwell. The place had a haunted house vibe. I used to hear weird scratching sounds at night. 
Peter: I was pretty good at manipulating but I think by ‘The Lamb’ the resentment towards me was so big that I had very little space. And I felt he only way I could work was to go into a corner and function on my own. A lot of the melodies were written after the event – after the backing tracks had been put down. 
Phil: We ended up back in London doing the vocals and mixing the album in shifts. I’d be mixing and overdubbing all night and then Tony and Mike would come in and remix what I’d done because I’d lost all semblance of normality by that point. Finally it seemed as if we’d been through hell and high water just to get it out. It certainly wasn’t one of my favourite albums at the time but I can see now that it’s one of our better recordings. We were still suffering from bad production up to that point, I think.
Steve: I felt at the time there were a lot of things on ‘The Lamb’ which didn’t particularly meet with my approval, and there was a very claustrophobic kind of sound to it…and a haphazard thing. We had a lot of jam sessions which turned into numbers and, in a way, it kind of lacked the discipline and accuracy which I was after in music. I don’t think Tony’s ever done a finer album. But I did feel the amount of stuff I was managing to put across was painfully small. My marriage at this point was also on the rocks.
Mike: ‘The Lamb’ is one of our best albums – one of our most different, anyway. I think a lot of people were put off by the idea of a concept, this idea of it all hanging together. When it came out, it was a commercial failure. People talk about it now as a Genesis classic, but at the time it died a death.
Phil: The trouble was that it was a double. That album should have been a single and our next could have been a double. At one point, the band even toyed with the idea of releasing ‘The Lamb’ as two single LPs, a few months apart. That would have given us more time to finish it and would probably have made the whole thing a little easier to digest. 
Peter: I would like best to see ‘The Lamb’ as a film because that would clarify the imagery further than a performance or the record. A film is the easiest medium by which to build another reality. The point of Rael being earthy and aggressive is that he provides an accessible response to these fantasy situations. Rael seemed a good starting point because he’s surrounded by all this speed and aggression which New York has more than any other city.

Notes from the Re-Master
Recently the open-air-microphone sourced recording of this show became available. After a couple listens it was clear that it was a very good recording but had a number of problems that needed correction.
The whole show is here but like many of the other OAM Lamb recordings, this one also misses the beginning of the show. We have to assume that the Genesis sound engineers were just instructed to start the recorder after Tony begins the show since other OAM Lamb recordings share this characteristic.
Tape flip gaps were also found and all were patched. The result is a complete show.
Hiss, bumps and audience noises were quite prominent and were reduced as much as possible. This recording has leader tape at the beginning and end which helped in the noise reduction process. Multiple techniques were used to remove or reduce these unwanted components so that the details of the show could be heard and appreciated.
Tonality was another major problem with this recording. Midrange and some Treble elements were quite excessive and were brought back into line. Some of the bass components were also boosted to even out the sound. Speed was checked and compared to standard references. A consistent pattern of error was found and corrected. Dynamics were then adjusted to enhance the listening experience and the show was then re-tracked. Finally, we re-balanced the discs, splitting the show at the Lillywhite Lillith monologue to be consistent with other recordings of the Lamb show. In our judgment, the acoustics and detail of this recording are as good as or even better than the Groningen OAM Lamb recording. We hope you agree and enjoy this
enhanced version. 
PRRP Staff

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