JETHRO TULL LIVE AT CORREGGIO´S COMUNAL ARENA, REGGIO EMILIA, ITALY, 6/7/1988
1.INTRO-CROSS EYED MARY
2.NOTHING IS EASY
3.THICK AS A BRICK
5.FARM ON THE FREEWAY
6.A NEW DAY YESTERDAY
CD TWO 1.MY GOD/FLUTE SOLO IMPROVISATION 2.PUSSY WILLOW INSTRUMENTAL 3.JUMP START 4.TOO OLD TO ROCK AND ROLL 5.WIND UP 6.AQUALUNG 7.LOCOMOTIVE BREATH 8.DUMBASTERS MARCH/THICK AS A BRICK/FINALE AQUALUNG/MY GOD RECOMMEND THIS BOOTLEG-RECOMIENDA ESTE BOOTLEG!! DOWNLOAD DISC ONE DOWNLOAD DISC TWO
FROM THE BENCH TO THE STAGE WITH IAN ANDERSON. ROCKBAND.COM INTERVIEW PART 2.
Jethro Tull frontman Ian Anderson doesn't like virtual music games—or any other kind of game, for that matter—but that didn't stop him from giving us the longest and most wide-ranging interview we've yet had on the site. Nearly 40 years after recording the Rock Band tracks "Aqualung" and "Hymn 43," Anderson has plenty of sharp thoughts on music, politics, cyberspace and the world at large…
Part Two opened with a true story about what really happens when you play Shea Stadium and you're not The Beatles. Also here are Anderson's thoughts on receiving the MBE, his personal favorite Tull song, and a grizzled look at gaming.
Brett Milano: This is a different subject entirely, but about a year ago they tore down Shea Stadium and a lot of talk was about The Beatles playing there, which of course was a famous [show], but you played there too. I'm wondering if you have any memories of that particular gig.
Ian Anderson: Yes, I do. I have two, two profound memories. One is the great insult that can be paid to a person is to assault him with urine. And one of the things that happened to me is, I was waiting to walk on at Shea Stadium while we were standing in an area where the audience was up above us at some point. And somebody – I felt something raining down on my head. I thought someone poured a beer or something, but then realized – from the smell – that it was actually that someone had peed in a drink glass or whatever and poured it down. I'd have to assume intentionally, since we were waiting for the cue to go out to the stage. It's certainly an unpleasant way of starting a concert. Thank you very much. And these people I assume bought tickets and would be masquerading as fans, so it's rather unpleasant. So that's one memory. The other memory is rather like The Beatles. It was pretty impossible to hear what we were playing during the show, not because of the audience screaming and little girls fainting and going into orgasmic moments of pubescent confusion over the whole thing, but really because of the sound of nearby LaGuardia airport. [laughs] A lot of United and – what would it have been back then? – Allegheny and a whole bunch of other airlines who don't exist anymore. Braniff, remember Braniff? [laughs]
IA: Lots of airlines that used to fly in and out of LaGuardia. And these days people know they're not still flying, with a few exceptions. But it was incredible because the flights were just circling and coming in to land. It just absolutely obliterated the music. Especially in quiet sections of Thick as a Brick, you know the acoustic stuff was completely drowned out. So that was another memory. Somewhere at the back of that, you're aware that The Beatles played there once and we played there and maybe it seems like a big occasion, but really it was just rather, not one of those concerts you remember for the right or good reasons, but just because it was a frustrating concert, particularly in the beginning.
BM: Speaking of things The Beatles also did, I know you got the MBE recently, and we in America don't always know what that means. Could you tell me a bit about that?
IA: Well it's more like the village postman award. The MBE is the lowest form of award given to you essentially by the Queen for services to the public. There's the MBE, the OBE, and the CBE which – it's not that they have different rank, but the order that is given to most people is the MBE, as a member of the British Empire. It's just a recognition of public service, in my case services to music and public events. Now that the Westminster and the Number 10 are kicking about terms of royalty. We have a system in the UK where recordings are protected in copyright only for a period of time, a period of fifty years after they were recorded. In the US it's currently ninety-five years because, strangely, Sonny Bono – he was the one who campaigned successfully to have copyright term extended to ninety-five years, I believe. And so, in the UK we wanted harmony with the Americans and a global right to protect the copyright for the great works, for instance of The Beatles, Pink Floyd, The Rolling Stones, plus a huge amount of jazz and classical music and folk music and great recordings that I believe should stay out of the public domain and should remain as potential money-earning copyright recordings to the benefit of the music industry. To employ people, to pay musicians and they continue to be part of the economic cycle of music. In an age when a lot of people think you shouldn't have to pay for music anymore, that you just get it free from the internet regardless of copyright, then that's a sentiment that many people seem to support. Most of the music industry of course, did but unfortunately the politicians at Westminster, a few of them gave us their support and I think I got an MBE as sort of a "Thanks for trying, son" [laughs]. "Have this instead…" A medal from the Queen. Well, actually from Prince Charles, who's the one who bestowed it upon me. But anyway, it's a great thing to get, but most of us wouldn't dream of adding those letters to our name. The big accolade is to become knighted, to become sir, as in Sir Elton John or Sir Paul McCartney, or even Sir Mick Jagger. And you don't find these people wandering around referring to themselves as Sir Mick or Sir Elton. People happily accept these things and modestly put them to one side. And so it is quite probably with any honorary title. You can be very grateful and generously acknowledge your peers who've awarded you with such recognition, but I think it's a bit in for a dig, a bit tacky to be wearing these as badges of honor. BM: Let me ask, a couple of minutes ago, you named "Back to the Family" as one of your worst songs. If somebody put a gun to your head and asked you to name a couple of the best, what would those be?
IA: Oh wow, well, probably…I've often cited the song "Budapest" as an all-embracing Jethro Tull song, because it is essentially, it starts off as an acoustic kind of groove and it's a blues-influenced song with some classical, western classical influences and a middle instrumental section and it gets quite rock-y towards the end, but it's a sort of mid-tempo, solid, straight-ahead tune with some combining elements of acoustic music, rock music, and classical music. And it's such that it wraps up a big chunk of what Jethro Tull is about. An albeit rather long song by radio play standards, but I think that's one of my good songs. It's a song that is observational. It's not autobiographical, it's an observational song. I guess that's what I feel most comfortable doing is writing music that is – it's about people in a landscape. If I continued to be a painterly person, having begun studying art as that goes in England, then I'd carry on with that. I guess I would have been someone who liked to paint people in a context. I wouldn't have been a pure landscape painter and just painting scenes of romantic rural bliss. I would've been someone who wanted to see people in that context. I wanna see them close up and personal, and look at them. But I wouldn't want to be a portrait painter. I was just in the National Portrait Gallery a couple of days ago and I thought, "I'm gonna make myself go," because I'm not really a fan of portraiture or such, but I should go and see what some current prize-winning portrait painters are up to and in the summer exhibition at the National Gallery. And I went and thought, well, it's very, very good, but I'm missing something. Which is I have all these glorious people and shiny and detailed close-up in many cases, but I don't know where they live. I don't know what they're doing. I don't know where they live. I don't know what they're doing. I don't know why they're there, why are they sitting like that? What's the context in which these people exist for this frozen moment of time? I'm not happy with that missing information. So I rather like the idea of people within a landscape. I like to sing songs about people, but I've gotta position those people in a context because for me it brings them to life. That's what I feel happiest doing as a songwriter. But I don't only do that or always do it, but that's the area where I feel most comfortable. I'm least comfortable singing heart-on-sleeve, autobiographical, personal-sounding, emotional songs. I'm least comfortable doing that. I've done it, but it's not something I make a huge habit of.
BM: It seems you got away from that after maybe the first few albums. I guess everyone comes into it somewhat doing that, right?
IA: I guess it is partly because it's very much expected because that makes up the big body of work of most of what's been written in pop and rock music. It is about singing about emotions. And they're usually pretty simple and they're usually connected to being in love or out of love, but that's the classic love song isn't it? In all of its variety and it's probably the thing I feel least comfortable doing. I don't find that easy. It starts off as a given, really, for a young songwriter to be working in that area and then I suppose you develop, perhaps by hearing other people or by just trying it out yourself, you start to find other ways to give music some substance literally and you find other subjects to treat and a different way of doing it. You add more strings to the bow or strings to your guitar in my case and try to do, give a little more bread to the songwriting experience.
BM: I always wondered if the woman in "Budapest" whether that song has kind of followed her around as being the girl in that song. Has she ever connected with you since that song happened?
IA: Well there's no connection with me in the first place. As I said it's an observational song, it's about watching someone who became the subject of the song. And I'm actually singing a song really through the eyes and ears and fantasy of someone else. I won't mention who that someone was, but it's someone else close to me. And I'm kind of singing it for that other person, really. It's partly based on being in a room and seeing something, partly based on somebody else recounting to me their thoughts about it. But it's a sort of look-but-don't-touch song, and as such I think it's ultimately, although sung in a way which might suggest a kind of sexist approach, it is very much a hands-off sort of beyond this point we don't go kind of song. I think it's not necessarily the best song, but it's one that does embody the elements that I like to think are strongly associated with the Jethro Tull audience and music experience. It wrapped a lot of those things up. But no, I've never - I seem to remember a couple of times, we've played many times in Budapest since then and a couple of times the promoter [has said], "Ah, you know the girl who was the trainee or young athlete or whatever it was, apparently she knows about the song and blah blah blah blah blah. You know would you like to meet her?" And I said, "Oh goodness me, now would I like to do that?" Apart from anything else she's, I would imagine, she's probably someone approaching the age of forty, so it would seem, it would be a little awkward, I imagine, for her too. To be a mature lady, probably married with children and certainly no longer a middle distance runner, which is what she was, so I was told. I like the idea of a song where you're actually talking about something very physical and slightly romanticized terms, but it is clearly just something from across a crowded room, and that's it, that's all there is. It's just a little moment, a little fleeting moment, and then you gather some of the thoughts around her and other people's thoughts and you make something of it. But it's very much sort of a role-playing fantasy, but it also involves singing a song and playing real instruments. It's a role-playing fantasy of a video games. That's why I always come back to this thought that if you're going to be person who indulges in fantasy and the "what if?" scenarios and has something developed and how you impact things, it's so much better to pick up a real instrument and write a song. Or pick up a pen and paper and write a book.
BM: One of the thoughts is that hopefully what we do with the game will encourage people to do just that, if they get a bit of vicarious taste of it and they say, "Okay, I want to do this for real now."
BM: That's the hope, anyway.
IA: Well one would have thought they would have got that vicarious thrill through actually being at a concert and watching musicians play live, from smelling the audience and smelling the fear and from musicians walking onto a stage and taking their lives in their hands in front of baying crowds. That would have been - one would have thought - would have turned the vicarious thrill into firing you up to do that, or not. Somehow I find it difficult to imagine how anybody gets a real kick out of sitting in front of a computer screen and pressing buttons. Or the kind of - I think it's coming back, I think I've seen it on the television screen about gadgets and computer things that people playing these plasticy-looking guitars and it's just, well, I just can't really find any...it's a bit like, why? Who's inventing something the world actually doesn't need? But people will gravitate to it because it's there. Because it seems fun, because it's loud and aggressive. It's simple as a fantasy, but I must say from the point of view of pretty much all gameplay, I'm just one of those people who's just never found games particularly enjoyable. Even if it's a game of cards or dominoes or Monopoly or whatever. I mean, I've played these things, I've played video games when video games were first invented back in the '70s when the first primitive tennis game called Pong, I think, unleashed itself in the pubs and bars and maybe recording studios in the UK. It was something that [the people] said, "Well, wow this is great," but we used to laugh at it and joke about it as being quite infantile and when things became more sophisticated and when my children were beginning to grow up with games like Frogger and Ski Slalom and Pac-Man and all that sort of stuff, and I thought, "Well this is okay if you're five or six-years-old," [laughs]. Frankly I would rather go fishing than play Pac-Man, or I'd rather go play golf with Alice Cooper than play Pac-Man. And I hate golf and everything to do with it. I hate golfers. [laughs] I'm just not a game kind of guy. I'd rather go for a walk. If I want a game, I'll invent a game. That's what I used to do when I was a young dad. I used to invent games to play with my children. And they would say, "Come on daddy, make up a game!" And I'd make up a game with rules and whatever was to hand, and we'd make up a game. And we'd play that for a couple of hours until everyone was completely exhausted, and then we wouldn't play it again because the children were so excited by the prospect of, "Make up another game daddy!" Very rarely did they say, "Oh, let's play that game again," because they always were much more interested in the more sort of creative thing of a new game which we would invent. And it would be something that none of us had ever done before. I think that was part of the fun.That was a game-playing and role-playing as you went along. Click here for part one if you missed it, and stay tuned for part three!
JETHRO TULL LIVE AT MADISON SQUARE GARDEN 1978 dvd+cd CRITICA-REVIEW.
No sé por donde empezar. Bien, por el princípio, que es lo normal. En Octubre de 1978 Jethro Tull fueron invitados a ser retransmitidos via satélite desde Norteamérica para todo el continente europeo. Era la primera vez que ésto ocurría, y por lo tanto habia que prepararlo bien.
Se eligió el concierto del 9 de octubre en el Madison Square Garden neoyorkino, festivo en Norteamérica por ser allí el Dia de Colón, y se eligió el programa de la BBC2 "The Old Grey Whistle Test" como via de conducción para la retransmisión. Pero no iba a ser una retransmisión al uso de un concierto de rock, ya que solo estarían en antena unos 50 minutos. Que hacer con el resto del concierto. Ian Anderson y la banda idearon que la parte que retransmitieran para televisión fuera la parte intermedia del concierto. Y cómo hacerlo. Pues lo más raro que yo he visto en un concierto de rock. Jethro Tull salen a tocar unos 20 minutos antes de que empieze la retransmisión, interpretando "Sweet dream", "One brown mouse" y "Heavy horses", y entre medias Ian Anderson va avisando al público que en unos minutos estaran en directo via satelite para toda Europa. Tras acabar de interpretar "Heavy horses" el sr. Anderson avisa a la audiencia de que va a comenzar el show por televisión y que necesitan retirarse y volver a salir para dar el pego en la tele de que acaba de comenzar el concierto. Y así hacen. La banda se retira, llega la señal via satelite, Mr. Anderson, entre bastidores agarra el micrófono y presenta ante una camara de televisión el espectaculo, y, acto seguido toda la banda sale al escenario para interpretar "Thick as a brick". En casa nadie sabe nada, sólo creen que acaban de comenzar el concierto. Tocan durante unos 50 minutos y, al final de "Locomotive breath" la señal de televisión te avisa, mediante un "Good night" en pantalla de que ésto se acaba. Fin del concierto, pero no para los asistentes en directo al mismo, ya que seguiran disfrutando otros 30 minutos más del sonido de la banda.
La primera vez que pude ver éste video, en 1988, fue en una reposición que hizo TVE de "Popgrama", cita cultural de los primeros años 80 en nuestra tele donde sacaban a muchos de nuestros héroes musicales. Y tengo que decir que quedé pasmado de la actuación del grupo y, sobre todo, del gran Anderson. Teneis que saber que era la primera vez que los veia actuar, aunque era fan de ellos desde 1984, y que entonces no existía internet ni nada parecido donde poder bucear en busca de imagenes.
Bien, he de deciros que ésta edición en DVD plasma extraordinariamente bien lo que pasó aquella noche y cómo fué ideado. Para empezar, el sonido es muy bueno (ojalá "Bursting Out" hubiera sonado igual), pero esto es ya lo mínimo que se le pide a una edición oficial, en estos días. Lo que sorprende es lo bien que está extructurado el DVD, y me explico. Lo primero que tienes que hacer es escucharlo con auriculares ó poner el 5.1 si lo teneis. Cuando dais al play empieza a sonar los primeros compases de la intro (si andas despistado creerás que estas en un concierto de Tangerine Dream por las florituras teclísticas que nos regalan Palmer y Evans) mientras en la pantalla iras viendo una sucesión de fotografias de la banda durante aquel show, ésto ocurrirá hasta que empieze la retransmisión. Van sonando "Sweet dream", "One brown mouse" y "Heavy horses" para luego Ian Anderson decirle al público que se van para dentro y volverán a salir cómo si empezaran el concierto porque va a empezar la retransmisión via satelite. Y...zas¡, aparece en tu pantalla la señal de televisión con una calidad tremenda. Aquí comienzan los famosos 50 minutos de video que tanto hemos visto ya pero con muy buena calidad de sonido e imagen, y se van sucediewndo los temas, "Thick as a brick", "No lullaby", "Songs from the wood", "Aqualung" y "Locomotive breath". Pero cuando la retransmisión termina ellos siguen tocando con un tremendo instrumental (incluido sólo de batería) que sólo había escuchado antes en el bootleg "Dark Haity", mientras en tu televisor aparece la frase "Good Night". Cuando la señal de video se vá, aparece Anderson (ya en audio) para decirle a la audiencia que la retransmisión acabó y que seguirán tocando un rato más para ellos. "Too old to rnr", "My God/Cross eyed mary" y, otra vez para deleite del personal, "Locomotive Breath". Unicos. Como detalles tecnicos quería comentaros que no me gusta mucho la mezcla que del sonido de los teclados de David Palmer hace el sr. Anderson. Sus teclas aparecen demasiado apagadas durante todo el show, y sólo teneis que comparar, por ejemplo, las versiones del tema "One brown mouse" de ésta edición y la del disco "Bursting out". Incluso, incomprensiblemente, el sólo de saxophone de Palmer en "Too old to rock n roll" se escucha muy mal. ¿Problemas con la cinta master, o cabreo del sr. Anderson con David/Dee Palmer?. Sabieno cómo se las gasta el flautista, todo es posible.
Recomiendo su compra, no lo dudeis. Ademas viene con portada desplegable de carton, y con regalo del CD con el concierto editado en audio. 10 de 10. POR FAVOR, DEJA TU CRITICA/PLEASE LEAVE YOUR REVIEW
MP3 320 KBPS VERSION-EXCELLENT FM! JETHRO TULL-COURT CENTRAL, ESTADIO NACIONAL, SANTIAGO DE CHILE, 27-03-2004 LIVING IN THE PAST NOTHING IS EASY HUNT BY NUMBERS EUROLOGY Radio Futuro DJ FARM ON THE FREEWAY Radio Futuro DJ Intro SONGS FROM THE WOOD-TOO OLD TO ROCK´N´ROLL-HEAVY HORSES medley A NEW DAY YESTERDAY Radio Futuro DJ intro AQUALUNG download
MP3 320KBPS VERSION JETHRO TULL-LOUISVILLE SLUGGERS-RECORDED LIVE AT THE LOUISVILLE GARDENS CONVENTION CENTER, LOUISVILLE, KENTUCKY, USA, MARCH 16th 1977. From the digitized Master Audience cassette. Remaster: 1. Noise Reduction using multiple techniques. 2. Speed Correction. 3. Repair of clicks, pops and bumps. 4. Tonality adjustment to correct muffled segments. 5. Adjust and correct flat Dynamics. 6. Re-track. Disc 1 01 Instrumental Quartet 2:33 02 Wondr'ing Aloud 2:28 03 Skating Away 3:50 04 Jack-In-The-Green 3:27 05 Thick As A Brick 13:00 06 Band Introduction 1:37 07 Songs From The Wood 4:52 08 Instrumental-Drum Solo 4:15 09 To Cry You A Song 2:32 10 A New Day Yesterday 2:49 11 Flute Solo 7:22 12 Living In The Past 1:39 13 A New Day Yesterday (reprise) 1:06 Total Time 51:30
Disc 2 01 Intro Discussion 1:35 02 Velvet Green 6:22 03 Hunting Girl 5:35 04 Too Old To Rock'N'Roll 4:12 05 Beethoven's Ninth Symphony 3:16 06 Minstrel In The Gallery 5:24 07 Cross-Eyed Mary 3:39 08 Aqualung 8:05 Encore: 09 Guitar Solo (begin cut) 2:50 10 Wind-Up 4:41 11 Back Door Angels 6:41 12 Locomotive Breath 5:18 13 Land Of Hope & Glory (cut) 1:12 Total Time: 58:38 PART ONE PART TWO
Jethro Tull: 1975-03-08 Providence Civic Center, Providence,USA. MP3 320 kbps version. Master audience recording taped by Dan Lampinski
CD1 01 Intro/Wind Up > 02 Passion Play 03 Thick As A Brick 04 Wond'ring Aloud 05 My God 06 Flute Solo 07 Bouree 08 Living In The Past 09 My God 10 Sealion 11 Skating Away On The Thin Ice Of The New Day 12 Ladies 13 Drum Solo
CD2 01 War Child 02 Instrumental 03 Cross-Eyed Mary 04 Bungle In The Jungle 05 Aqualung 06 E: Guitar Solo 07 Back Door Angels 08 Locomotive Breath 09 Hard Headed English General 10 Back Door Angels Reprise
Sony TC-152SD Tape Recorder Sony ECM-99 Stereo Microphone Maxell cassettes
Mastered and FLAC'ed by Carl Morstadt (firstname.lastname@example.org)
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. CD-ONE CD-TWO AQUALUNG/MY GOD RECOMMEND THIS SUPERB AUDIENCE RECORDING. AQUALUNG/MY GOD RECOMIENDA ESTA EXCELENTE GRABACIÓN DE PÚBLICO. NOTE.: THIS IS NOT THE SAME RECORDING FROM THE BOOTLEG "ANOTHER CUP OF TEA". THIS IS FROM ANOTHER SOURCE.
JETHRO TULL-COMPLETE PERFORMANCE 1972. LIVE AT KOSENENKEN, TOKYO, JAPAN, JULY 15, 1972 ("JULY 19, 1972" from back cover is incorrect.) 1. Thick As A Brick (inkl. Bourée) 2. Thick As A Brick II 3. Cross Eyed Mary - A New Day Yesterday 4. Aqualung 5. Wind-Up 6. Locomotive Breath 7. Wind Up (Reprise) PART ONE PART TWO
ALTERNATE FRONT COVER ALTERNATE BACK COVER JETHRO TULL-THE POOR MAN GETS ALONG- LIVE AT THE PALAEUR, ROME, ITALY, FEB. 1ST 1972 01 My God with Flute Solo 02 Thick As A Brick 03 Aqualung 04 To Cry You a Song 05 A New Day Yesterday 06 Cross Eyed Mary 07 Hymn 43 - nothing is Easy 08 Wind up With Guitar Solo 09 Locomotive Breath 10 Wind Up Reprise PART 1 PART 2 PART 3
MP3: 320 kbps JETHRO TULL-BOSTON GARDEN 1971. Live in Boston, Massachussets, USA, November 15, 1971 CD 1: Applause, My God, Brick Intro, Thick As A Brick, Aqualung, To Cry You A Song, A New Day Yesterday. CD 2: Cross-Eyed Mary, Up To Me, Tomorrow Was Today, Hymn 43, Nothing Is Easy, Applause, Wind Up, Locomotive Breath. PART ONE PART TWO PART THREE
Algún aburrido se ha dedicado a hacer peleas de Pressing Catch entre estrellas de rock, y se ha currao un buen combate entre Freddie Mercury (Queen) e Ian Anderson (The Fab Five). ¿Quien gana?, pues el Freddie se merienda al Ian. No sabemos si porque el creador era fanático de la música de Queen, o que odia a los Jethro Tull, o, simplemente, que era gay...
"> Universe Records is Proud to Announce the Worldwide DVD Release of: Life’s A Long Song – 40th Anniversary Tribute to Jethro Tull Introductory price on this 3-disc set by Jethro Tull tribute band Living With the Past, led by Ray (who tends to omit his last name), the man responsible for the very Tull-like Somewhere in the Universe CD from 1995. The six-piece band was joined by former Tull (and Fairport Convention) member Dave Pegg on bass, mandolin and vocals. The DVD contains the tracks Living in the Past, To Cry You a Song, Cross-Eyed Mary, Salamander, Level Pegging, Life’s a Long Song, Skating Away, Broadsword, My God, Tull Medley, and Locomotive Breath. The two CDs contain the same audio as the DVD. Ed Unitsky provided the artwork.KINESISCD.COM
JETHRO TULL-LOUISVILLE GARDENS, KY, USA, AUGUST 11, 1975 (VERY RARE¡) Intro (not Quartet), Wind-Up/Passion Play (Critique Oblique), Thick As A Brick (excerpt), Wond'ring Aloud/Again, My God (w. flute solo incl. God Rest Ye Merry Gentlemen, Bourée & Living In The Past), SeaLion (incl. Minstrel In The Gallery (inst.), Skating Away..., Ladies (w. Drum Solo), WarChild, 'WarChild Suite' (piano & strings)/Instrumental/Reasons For Waiting, Cross-Eyed Mary, Bungle In The Jungle, Hare Intro (spoken)/Aqualung, Guitar Solo, Back-Door Angels, Locomotive Breath/Hard-Headed English General/Back-Door Angels (reprise). THE TAPER SAY: The Sound: Audience Recording Really Not Too Bad Give It A Test Drive Below
No Noise Reduction Or Eq Or Volume Leveling, Or Anything Was Done. This Is Totally Raw. It Was Recorded On A Memorex Cassette, A Brand, Despite A Famous Ad Campaign ("Is It Live Or Is It Memorex") That Was Always A Crappy Tape. It's Amazing That It Would Last 30+ Years And Still Be In Such Good Condition. Maybe They Weren't As Bad As Everyone Said... Yes They Were. You'll Notice The Occasional Volume Fluctuation, Dropout, Etc. But Hey, We Should Be Ecstatic That This Even Exists. Thank You Original Taper And Jacksonaps, The Longtime Caretaker Of The Tape (Who Kindly Sent Me This For Dissemination). DOWNLOAD