Sunday, September 28, 2014

Led Zeppelin – 1973 - Ascension In The Wane

Led Zeppelin
Ascension In The Wane

(Godfather GR BOX 13)

Led Zeppelin’s ascension to super stardom was so fast that, even early in their career, they were challenged by the British press to match exceed their current champions.  The most well known was in 1977 and 1978 when they were pitted against the punk movement in the UK.  Believe it or not, there was a time when progressive bands like Yes were the new guard, and the press wondered if Zeppelin could match them in creativity and popularity. 

This was the atmosphere in which Zeppelin planned their largest UK tour to date. Ascension In The Wane is a box set containing soundboard recordings from the second half of their UK tour.  The first half, during December 1972, ended with two shows in London.  In January 1973 they continued with shows in northern England and Scotland.

Many Zeppelin fans and collectors believe early 1973 (especially the European dates in March) are among the band’s greatest all-time performances.  All of the tapes have been released before.  Most surfaced in the early nineties and they all sound as good as the best versions in current circulation.  This is a good way for those who do not own any of these shows to obtain them.

Oxford Blues (G.R. BOX 13AB)

January 7th, 1973
New Theatre
Oxford, England

01. Rock And Roll
02. Over The Hills And Far Away
03. Black Dog
04. Misty Mountain Hop
05. Since I’ve Been Loving You
06. Dancing Days
07. Bron-Yr-Aur Stomp
08. The Song Remains The Same
09. The Rain Song

01. Dazed And Confused
02. Stairway To Heaven
03. Whole Lotta Love

After Zeppelin’s brief break for the Christmas and New Year’s holiday, their first show in the new year was on January 2nd in Sheffield.  Robert Plant caught the flu hitchhiking in the cold winter after his jeep broke down.  His voice affected that performance (which exists in a poor audience tape) and caused the rescheduling of shows in Bradford and Preston.

The next show was on Sunday, January 7th at the 1,800 capacity New Theatre in Oxford.  Zeppelin’s only show in Oxford, it is captured in a nearly complete soundboard recording.  It cuts in right at the beginning of “Rock And Roll,” has a big cut in “The Rain Song,” and cuts out during the theremin solo in “Whole Lotta Love.” 

The soundboard first surfaced in 1991 on Oxford Blues (Flying Disc Music CD 6-800).  Tarantura included “The Song Remains The Same,” ” The Rain Song,” “Dazed And Confused” and part of “Whole Lotta Love” on the compilation Nasty Music (Tarantura T3CD-011-1-2-3).

“Dancing Days” and “Bron-Yr-Aur Stomp” appear on Best Of Tour 1973 (Forever Standard Series FS 99-008) and the best version came out after that on Oxford 1973 (The Diagrams Of Led Zeppelin TDOLZ Vol. 75).  The latest release is on the poorly edited and ghastly sounding British Story (Wendy WECD-8283) where it is paired with the Dundee soundboard and the Southampton rehearsal as a bonus.

Godfather use what sounds like the Diagrams version of the tape.  It’s very clear and enjoyable, one of the best to surface from this part of the tour.  The guitar is unfortunately mixed down, but the rhythm section is very powerful.  There is a small cut 313 in “The Rain Song” and the tape cuts out during the theremin solo in “Whole Lotta Love.”

It starts right at the drum fanfare of “Rock And Roll” and it’s obvious from the first song that Plant is going to struggle this evening.  He compensates by trading the high notes for low and low growls for high shrikes.  It’s somewhat effective and very creepy at certain points.

Aafter the new song “Over The Hills And Far Away” Plant apologizes for the delay.  He jokes “since we’ve joined the common market this area’s gone down the nick” (Britain joined the European Market on January 1st, 1973, a full week before this gig).  “Somebody threw an iron bar onto the electric railway line, and the trains have stopped. Alright, this is one for the guy who did that” before starting “Black Dog.” 

At the end of the song someone makes a strange comment to Plant, prompting him to reply “well, I used to be Jethro Tull” and dedicates “Misty Mountain Hop” to “everybody who ever got waylaid when they were going somewhere.”

Early in the set is the short, one song acoustic set “Bron-Yr-Aur Stomp.”  Plant expands on the song’s meaning, saying it’s “really about a dog who refuses to be bathed, washed, brushed, and spends a lot of his time doing nothing…sounds reasonable!…You can be of assisstance with the mitts, you know” urging the audience to clap along. 

Plant’s mellow vocals put a damper on “The Rain Song.”  He moans instead of shouts over Bonham’s thunderous drums in the song’s latter half.  They are also subdued for “Dazed & Confused.”  He minimizes the vocal gymnastics with Page’s guitar.  Instead, Page is quite creative inventing riffs and melodies.  The most memorable is a haunting melody played in the violin bow segment.

“Whole Lotta Love” is “for any of our road manager who didn’t get arrested in Sheffield. This is a number that really is a little bit hedonist on a Sunday night. It’s a number that, in America, creates much frenzy.  In fact, it’s got us a lot of good things. Gentlemen”

It’s a shame it cuts out without the medley.  Page again is very aggressive in his guitar playing and the therermin solo and it would have been interesting to hear how he handles the heavy blues without Plant’s vocals as a foil.  But this is a great sounding document of an interesting show. 

One For The M6 (G.R. BOX 13CD)

January 14th, 1973
Empire Theatre
Liverpool, England

01. Over The Hills And Far Away
02. Black Dog
03. Misty Mountain Hop
04. Since I’ve Been Loving You
05. Dancing Days
06. Bron-Yr-Aur Stomp
07. The Song Remains The Same
08. The Rain Song
09. Dazed And Confused

01. Stairway To Heaven
02. Whole Lotta Love
03. Heartbreaker
04. The Ocean

A week later Zeppelin return with a show in Liverpool.  Since they didn’t play since Oxford, Plant’s voice is well rested and much more dynamic and powerful.  A fragment of the soundboard containing the “Whole Lotta Love” medley and the encores first surfaced on the vinyl disc Trouble At The Front  Death Wish II Outtakes (TROPO 411A-D).

The first compact disc title to document Liverpool was Elvis Presley Has Just Left The Building which has the same material as the LP plus the Bradford soundboard fragment and the Southampton rehearsal.  Tarantura included “The Ocean” on the compilation Nasty Music (T3CD-011-1-2-3).  Tangible Vandalism, on both Goblin and Ukinel, also have this material.   

Subsequently a longer soundboard tape surfaced in the early nineties.  This one misses the first song “Rock And Roll,” cuts out 545 in “The Rain Song” and the first two verses of “Dazed And Confused” are missing.  There is a cut in “Whole Lotta Love” at 1123 during “Baby I Don’t Care.”  The Fabulous Four (FF-12) and its speed-corrected clone Days Of Heaven (Tattytura) contain this tape with clicks after the cut in “Whole Lotta Love.”  Live In Liverpool ’73 (The Diagrams Of Led Zeppelin Vol. 4) and One for the M6 (Crazy Dream CDZ-73001002) edited the vinyl source to avoid the clicks, and this is the tape Godfather uses.

With “Rock And Roll” missing, the tape starts with the opening strums of “Over The Hills And Far Away.”  Speculation has it that the band actually dropped “Rock And Roll” because of the perceived strain it might have on Plant’s damaged vocal chords.  It would have been strange for the band to open the show with a song that hadn’t even been  released yet, but one can never know. 

The alternative theory would be “Rock And Roll” just not being recorded, or that the tape was damaged for one reason or another. 

After a gentle version of “Over The Hills And Far Away” Plant says, “good evening.  Another Sunday night.  Everything stops at ten to ten.  Amazing.  This is about somebody who didn’t stop” before they start “Black Dog.”  Plant’s voice is much stronger than in Oxford.  Liverpool is a much more effective show as a result.  The small audience lends much more intimacy to the performance.   

“This is one that … I don’t know how it was conceived, but it’s about what you should do if you go walking through the park” he says to introduce “Misty Mountain Hop.”  There is a short delay before the song starts and he jokes, “with a few bass pedal tune-ups.”

After an excellent “Dancing Days” he complains, as they set up for “Bron-Yr-Aur Stomp,” that “we used to play a half hour of acoustic songs” and mentions trouble in Germany.  He turns away from the mic so it’s difficult to understand exactly what he’s saying. 

Before “The Song Remains The Same” Plant seems to anticipate the criticims Houses Of The Holy will receive by saying that Led Zeppelin “were a blues group when we started.  White blues” and calls the new song a real blues song because they ahd to travel aroundt he world in order to conceive it. 

It’s a shame “The Rain Song” cuts out because it is truly devastating.  ”Dazed And Confused,” picks up right when Page is heating up, playing a blistering early solo before they cover Scott Mackenzie.  The violin bow solo sounds very faint, light, airy and mysterious in this recording.  During the improvisation, before the return to the third verse, Page samples some far eastern Asian sounding melodies. 

Plant tells the audience that “Stairway To Heaven” came in “a moment of light a half hour after ‘Black Dog’.”  The “Whole Lotta Love” medley has the same numbers as the others with a nasty blues improvisation in the middle.  ”Heartbreaker” is the first encore and they end the show with “The Ocean.”  It’s the only known version this month and a rare peformanced without the Bonham count-in.

Liverpool is a great show and is unfortunately rarely pressed onto silver disc.  Except for the titles pressed in the nineties, it’s been ignored for almost fifteen years.  Godfather’s version of One For The M6 is perhaps the best version available. 

Groovin’ In The Garden (G.R. BOX 13EF)

January 15th, 1973
Trentham Gardens
Stoke, England

01. Rock And Roll
02. Over The Hills And Far Away
03. Black Dog
04. Misty Mountain Hop
05. Since I’ve Been Loving You
06. Dancing Days
07. Bron-Yr-Aur Stomp
08. The Song Remains The Same
09. The Rain Song

01. Dazed And Confused
02. Stairway To Heaven
03. Whole Lotta Love

Following Liverpool the band traveled to Stoke-On-Trent for a show in the Trentham Garden.  This soundboard recording is one of the most popular from this month with many different releases in the compact disc era.  Earlier releases include Live In Stoke, England Vol. 1 (LZ-007), Live In Stoke, England Vol. 2 (LZ-008), Trentham Gardens (Music With Love MWL 009-010), Stoker (Stoke-1, 2) on Tarantura, Broken Fingers (IQ-0012) the underrated Image Quality label’s first release, and soon after that on Dedicated To Rizzlers (Equinox EX-00-008009) in the summer of 2001.

Stroke In Stoke was released about the same time as Equinox with the same sound quality but with the songs out of proper running sequence.

As good as the tape sounded on these releases an improved version of the tape was released on Soul Brothers (Tarantura TCD-37-1,2)simultaneously with Live At Trentham Gardens (Empress Valley EVSD-394395) both with significant ungraded sound quality.  Stoke 1973 (no label) has the same excellent and improved sound quality as the two.  The sound is very clear with a touch of hiss.  The vocals, drums and bass are up front with the guitars pushed somewhat back in the mix.

Godfather utilize the same tape generation as teh latter three releases in excellent sound quality.  There is still the gap cutting out the latter part of “The Song Remains The Same” and the first two verses of “The Rain Song”, and one at the very end of “Stairway To Heaven” which also eliminates the very beginning of “Whole Lotta Love.” Overall Stoke is a beautifully laid back, very loose performance.  Zeppelin’s shows in the UK are virtuoso yet low key performances.

The show starts off with “Rock And Roll” and the segue into “Over The Hills And Far Away.”  Plant is recovering from a nasty flu that affected his voice, so he takes it easy in the opening numbers.  He is sipping lemon tea while introducing ”Black Dog,” claiming it’s about ”a Labrador who used to come with us when we went shooting people. We don’t shoot animals.”

“Misty Mountain Hop” is dedicated to Rizlas (a brand of rolling paper for sale in the UK), and that number segues into “Since I’ve Been Loving You.”  Page’s guitar goes out of tune during the following song “Dancing Days.”  After “Bron-Y-Aur Stomp” Plant reminiscences about their visit to Wales several years prior when they wrote the song.  “Actually, we’re very fortunate to be playing in Aberystwyth tomorrow night, which is where all them things came from, locked far away in the National Trust of Snowdonia. What a gas place that was. Sold to a stockbroker in the end folks.”

The set ends with “Whole Lotta Love.”  While it reaches seventeen minutes long, it is significantly shorter than in other shows on this tour where it reaches almost twenty-give. Plant’s vocals seem to be come weak by the end, so when they complete “Let’s Have A Party,” instead of going into the demanding “I Can’t Quit You,” he goes straight to the closing verse of “Whole Lotta Love.”

Unfortunately the tape ends right when Plant is saying good night.  The encores aren’t present.  Eyewitnesses to the event said they played “Four Sticks” as an encore.  It is possible although unlikely since Zeppelin rarely played unrehearsed songs live.  But, it would be an event if it were to surface.

The Black Hole Of Calcutta (G.R. BOX 13GH)

January 22nd, 1973
The Old Refectory
Southampton University
Southampton, England

01. Introduction
02. Rock And Roll
03. Over The Hills And Far Away
04. Black Dog
05. Misty Mountain Hop
06. Since I’ve Been Loving You
07. Dancing Days
08. The Song Remains The Same
09. The Rain Song
10. Dazed And Confused

01. Stairway To Heaven
02. Whole Lotta Love
03. Heartbreaker
04. Thank You
05. How Many More Times
06. Communication Breakdown

In The Old Refectory is the latest incarnation of the January 22nd, 1973 Southampton University gig that surfaced on multitrack in 2007.  Previous releases of this tape include The Great Lost Live Album (Nasty Music NM-1973-010203), Live At Southampton University Working Tapes (EVSD-493494), Any Port In A Storm  The Lost Soundboard Show (Godfather GR223224) and Tarantura’s prior release of this show Swastika (Tarantura  TCD67-1,2). 

Southampton University 1973 (no label) was released in the spring of 2008 and had the tape speed adjusted, slowing the tape down 1.5% compared to all of the other releases making this one two minutes and ten seconds longer than the others and sounding at the correct pitch.  This tape was used on In The Old Refectory (Tarantura TCD-96-1,2) and again by Godfather for this release.

A review of this concert appeared in the Wessex News afterwards in an article titled “Rock And Roll” sounds a bit sluggish, but the following song “Over The Hills And Far Away” is very good with an animated solo by Page in the middle.

Before “Black Dog” Plant says, “And it’s a good evening. I believe we came here before. I don’t know if it was as warm then. We’re going to have a good time tonight. This is about a Labrador who became rather – rather dodgy with lumbago.The only thing he could do was boogie. He was a black dog. Black Dog!” The “Misty Mountain Hop” and “Since I’ve Been Loving You” pairing follows immediately afterwards.

Before “Dancing Days” Plant explains, “This is a bastard actually. This is a track from the new album. It’s a track that was written in the height of last year’s summer on July 6th. It’s a song about school days and little boys that never grow up. It’s called ‘Dancing Days’.” This is usually a great live piece but this version sounds tired with Page playing a bland solo at the song’s conclusion.

“Bron-Yr-Aur Stomp,” which normally follows “Dancing Days,” is dropped “we don’t know it to be honest,” Plant explains. “Besides we can’t maneuver about.”

The band play another new song, “The Song Remains The Same” instead. The right channel of the stereo flickers at eleven seconds into the track and becomes a bit weak at twenty-two seconds, but improves soon afterwards with another flicker at 251 at the end of “The Rain Song” Plant says, “That was John Paul Jones, ably assisted by the Haleigh Orchestra which we managed to press into this small 3 X 26 box.”

A power surge can be heard on the tape and there is a short delay while the roadies work on wiring onstage. Page plays a bit of the Tarantella while Plant caution “you can get a shock you know, Cerano.” Plant jokes with the audience about the show the previous evening at the Gaumont Theater before the band play a twenty-eight minute version of “Dazed And Confused.”

The recording preserves the dynamics of the piece and the song is very enjoyable in this show. Plant is out of tempo during the “San Francisco” section and Page takes his time finding his violin bow. Bonham plays the cymbals under Plant’s moans in the interim before the violin bow section begins. The sounds are soft, reminiscent of the Liverpool tape, but also very creepy.

“Whole Lotta Love” lasts for a half hour and the medley is typical for this tour with no surprises. There is a small cut on the tape at 1947. They play the longest set of encores of the tour. “Heartbreaker” is first followed by the John Paul Jones mellotron arrangement of “Thank You,” this is an experiment he first introduced in Nagoya the previous October and played it several times since, but this is the best recording we have of this unusual piece.

At the song’s end Page plays some pretty figures on the guitar before Plant introduces the next number. “This is one of our early tunes and God knows if we can remember it.” They play an eight minute version of “How Many More Times” for the first time in two years which segues directly with the final encore of the night “Communication Breakdown.”

Odds And Ends (G.R. BOX 13GH)

January 18th, 1973
St George’s Hall
Bradford, England

01. Dazed And Confused
02. Whole Lotta Love
03. Immigrant Song

January 27th, 1973
Caird Hall
Dundee, Scotland

01. Whole Lotta Love
02. Heartbreaker
03. Communication Breakdown

January 21st, 1973
Gaumont Theatre

04. Drums & Mellotron tuning
05. Love Me
06. Frankfurt Special (AKA Station Blues)
07. King Creole
08. Love Me (Reprise)

Odd And Ends contains several soundboard fragments from the latter days of the UK tour.  The first disc has a fifity minute section of the January 18th show in Bradford.  The sound is excellent and contains most of “Dazed And Confused,” the “Whole Lotta Love” medley and the final ever (known) performance of “Immigrant Song” by Led Zeppelin. 

The Bradford soundboard has been released many times before.  ”Dazed And Confused” and “Whole Lotta Love” first surfaced on Heartattack (Toasted  Condor 1997) and April Fool’s Day (LZ05) and later on Fallin’ In Love With The Fallin’ Angel (Led Note LCD 1507) and The Great Lost Live Album (Nasty Music NM-1973-010203).  (The poor sounding audience source can be found on  Bradford UK 1973 (The Diagrams Of Led Zeppelin TDOLZ Vol.020)).

“Dazed And Confused” contains some variations unique to the performance.  Page’s lead into the “San Francisco” interlude sounds different, and he gets into a funk groove in the start of the long improvisation.  The “Mars” section before the return to the final verse is also extremely intense.  The soundboard is much more clear, but the echo in the audience recording lends the air of mystery lacking in the professional recording.  Bradford ranks among the best performances of the epic piece of the UK  winter tour.

The long ”Whole Lotta Love” medley continues the variations.  While Page is spiting out his sledgehammer riffs, Plant gives a parodic nod to The Rolling Stones’ “Let It Bleed,” singing “we all need someone to cream on.”  During the boogie section Page spits out some nasty, hostile sounding heavy-metal riffs, and after “(Baby You’re So Square) I Don’t Care” Plant continues the Elvis impersonation with the beginning of “Blue Suede Shoes” (“one for the money  two for the show  three to get ready  go, cat, go  stay off of my blue suede shoes”) as the rest follow along.

The Dundee fragment on disc two is even more short and more rare than Bradford.  About a half hour long, it cuts in right before the theremin solo leading into the “Whole Lotta Love” medley and the two encores.  It first surfaced in the early nineties on From Boleskine To The Alamo (Flying Disc Music CD 6-818), Nasty Music (Tarantura T3CD-011-1-2-3) and several years ago on A Soundboard Platter (Scorpio LZ-07005-01~04).

Plant is overtly concerned about security during the improvisations and “Everybody Needs Somebody To Love” mentioning them several times.  Bonham bashes the hell out of the drum kit, and the Scottish punters are so enthusiastic their cheering can be faintly heard in the recording. 

At the start of “Boogie Chillun’” Plant sings how he remembers the trouble in the front of the stage when they last visited (in November 1971) and doesn’t want to see it again. 

Godfather include the January 22nd Southampton rehearsal tape as a bonus.  Ascension In The Wane is packaged in a deep box with individual sleeves for the five shows along with a miniature tour poster and one of their thickest booklets ever produced, over fifty pages with many photographs from the era and essays about each show.  It is one of their most detailed and best sounding boxes produced.  

Pink Floyd - 1970-02-11 - Birmingham

Pink Floyd
February 11, 1970
Town Hall

101. The Embryo
102. Main Theme from More
103. Careful With That Axe, Eugene
104. Sysyphus

201. Project Birmingham, feat. variations of:
    Heart Beat, Pig Meat
    The Violent Sequence (aka Us And Them)
202. Set The Controls For The Heart Of The Sun
203. The Amazing Pudding (aka Atom Heart Mother)

Project Birmingham

For those who are interested, here's some of the details of Project Birmingham (which will be our NEXT release ... Ed promises to be weeding in time for X-Mas). I initially started working on this almost 2 years ago. I had three sources to choose from; the vinyl bootleg LP "Violence In Birmingham" (the longest of the 3), "The Violent Pudding" released by JS&TBD and a low gen analogue tape.

I mainly used the old analogue tape as my source and spliced in the additional material from the vinyl release, which gives you a few more minutes of AHM. I then tweaked the Hell outta this one, balancing and boosting channels, patching lost moments and applying a custom EQ to the whole thing. There was still an unacceptable amount of hiss left, and for the 1st time I was willing to go with some major noise reduction and give it a try.

I sent the files I had been working on to Chris Burns in NYC. Chis had some professional audio equipment and volunteered to lend his skills to the project. The NR greatly reduced the hiss, but created an artifact that gave the impression of listening through a long drain pipe. Still, I felt that this was an improvement over all that hiss.

The data CDs were next sent to Marc-Oliver who has a built in radar detector for speed correction. He worked on each track, making sure that the pitch and speed were accurate. The next step was more difficult. Marc had trouble mailing it back to me as customs busted the package (pretty trivial with what's going on in the world today)! Eventually, the CDs got back to Ed via France, no less.

I was glad to be finally done with this one .... until a better source came along!!! As soon as I heard the quality of this new recording, I knew I would have to scrap all the work that was done and start all over again. Which I did ........

There was still hiss on this new source, but not as bad. AND, I was able to hear some subtleties that I hadn't heard before. I also took a new approach to remastering this show as well. I didn't want to use any NR this time as I felt that some EQing would do the trick.

There seemed to be some strange anomolies with the source that I also would like to mention. During some songs, the hiss seems to oscilate in and out like a whirlwind effect. It's really not too terrible and only rears its ugly head in a few places for a short period of time. In other places it just cuts in and out ... almost as if someone was playing with the Dolby button while making the dub (although I was assured that this was not the case). These sudden "bursts" were also very difficult to smooth out and I only had limited success at times.

After re-assembling the entire show, I cross-dissolved different EQ applications over the entire piece. During the quieter parts I brought the high end down, for the louder parts I boosted the bass and midrange a bit. Next, it was back to balancing and boosting levels again and all the general work I had done before. Lastly, I speed corrected the entire thing, using M-O's previous effort as a reference. I'm sure that the speed will be pretty close, although it does vary from time to time.

This performance has an incredible setlist, one of my favourites, and it's mostly instrumental! If you can make it through the opening minute of Embryo (which is totally distorted and over-saturated), you'll be in for a real treat for what follows. You will also find that Sysyphus and AHM (aka The Violent Pudding) are now complete, and the missing bits were NOT sourced from an alternate show. However, Dr FrankenToon did "cheat" to make them complete ; )



>>From Harvested's Ed P.:

Hello Again,

The air is thick with anticipation.

Harvested's next release will be available soon, I promise.

I wanted to take a few moments to discuss Project Birmingham and make a request to the group.

For the benefit of those that are a little less knowledgeable than others, I'll go over a little of the history of this show.

Basically, the February 11 1970 performance in Birmingham has produced the most infamous Pink Floyd RoIOs of all time. Why is that?

It's a combination of two factors - the set list and the sound quality.

After completing the 'Man And The Journey' tour in 1969, and before settling down to the standard setlist that would become the 'Atom Heart Mother' tour, the band was very experimentative with their setlist and even included songs from their most recent project - Zabriskie Point.

The setlist:
The Embryo
The Main Theme from More
Careful With That Axe, Eugene
Heart Beat, Pig Meat
The Violent Sequence
Set the Controls For The Heart Of The Sun
The Amazing Pudding

Of these songs, Embryo, Careful and Set The Controls were quite common numbers in Floyd shows; but the others ...

Variations of Quicksilver and Moonhead had been standard numbers during the Man And The Journey performances. But this was not an M&J performance. These tracks here, in their normal form, are quite rare.

The Main Theme from More, Heart Beat Pig Meat and The Violent Sequence are equally rare tracks without caveat. Variations of these songs did not appear in M&J or other tours.

Although Atom Heart Mother would become standard fair, it's precursor - The Amazing Pudding - is quite rare as well. There are subtle and not so subtle differences between TAP and AHM. Best of all, the Birmingham performance includes a 4 minute long drum solo by Nick Mason!

Last, but not least, is Sysyphus. This track is unique to this show!!! No other RoIO date has it.

Obviously, this one-of-a-kind setlist makes a recording of this show a must have in every RoIO collection. But what makes this show infamous is the sound quality. It sucks!

I bought the 2LP Violence In Birmingham RoIO fifteen years or so ago. Now that was a painful listening experience. The show was very very hissy, saturated and distorted. Add to that, vinyl pops, speed problems and losses from a high gen tape source ... yuck!

Ron Toon to the rescue.

As Ron posted before, Ron acquired a very low gen tape source a couple of years ago, converted it to CD and speed corrected it and was almost ready to release it, when he acquired an even lower (2nd?) gen tape and redid the whole effort.

This is what I've been working with. It's got no clicks, no pops, no speed problems. The sound is full. You can hear subtle things that were lost on later generation tapes. But the original problem remained: HISS.

I've been very carefully dehissing the show. Painstakingly applying just the right amount to preserve the fidelity of the music and not create any noise reduction artifacts.

The weeding will begin very soon. As always, Ron and I enjoy the work we do and are happy to pass it along. But, because of the importance of this show and the effort we've put in to produce it, Ron and I have decided to alter the weed rules on this one slightly.

After you receive this show, you should listen to it before offering up copies to the group. When you make your weed offer post, you should include your comments/thoughts/observations about it as part of the offer post. And not just a one-liner. Put some effort into composing a paragraph (or more). Thanks.

Stay Tuned,

>>From Harvested's Ed P.:

Hello everyone,

I hope everybody's poised for a great 2002. Best wishes to you all.

First, many thanks to everyone that's been posting reviews of our latest release, Project Birmingham. We definitely appreciate it. But, I'd like to remind those continuing this weed that posting a "full review" isn't a requirement. Just a paragraph of your thoughts/comments/observations ... but the more the merrier.

Second, I'd like to bring up the topic of applause and the lack of it in this show.

Has anyone noticed the relationship between when the last note of a song is played and when the audience starts to applaud?

A well behaved audience usually withholds their applause until the song ends. And I would certainly consider the Birmingham audience to be well behaved that night.

On Embryo, the applause starts 2 seconds before the last note. On More, the applause starts 2 seconds after the last note. On Careful, the applause starts at the same time as the last note. On Sysyphus, the applause starts 7 seconds before the last note. On PB, the applause starts 3 seconds after the last note. On Controls, the applause starts 2 seconds after the last note. On AHM, the applause starts 2 seconds before the last note.

Although Ron did a superb job faking the endings to Sysyphus and AHM; in my opinion, the fake applause added to the end of the faked Sysyphus ending comes in too soon. I assume this was intentional, a necessary part of the illusion. If the applause were to come in 2 seconds after the end, like it probably did in reality, the fakery would probably be noticeable.

Another topic concerns the lack of applause in PB. The first three parts of PB all segue into each other nicely. However, between the end of the third part (Moonhead) and the start of the fourth part (TVS), there are 24 seconds of silence (that's right twenty-four). Was The Violent Sequence a separate track? Did the audience not notice the end of Moonhead as the end of the piece and thereby forget to applaud? Or was the band still doing something on stage during this lull (like the pause for the footsteps in Cymbaline) to indicate to the audience that the piece was continuing?


>>From listener Pat B.:

allow me to stir this pot up a bit. disclaimer: i haven't heard PB yet, but i did spend an obscene amount of time fiddling with a different low gen source of this show (which eventually became the JS+TBD release "the violent pudding", thank you again scott j.) and there should not be any "silence" before us&them/the violent sequence. i had to crank the levels to an extreme degree on that particular section to make out what was going on, but there SHOULD be some extremely quiet piano happening there. i suspect there was a spotlight or something on rick to let people know that the piece continued. perhaps this bit was lost to the noise reduction? ... (if you have TVP, refer to the end of track 10 'moonhead' after the tom-tom stops. there IS a bit of piano going on there, buried under that mountain of hiss.)

on a side note, nobody has mentioned this: THE PIANO!!?!? did they really drag a baby grand PIANO around the british midlands in winter for this leg of the tour? or did they only play this tune in halls that had one available? that would be my theory as to why this piece was dropped from the setlist so early after it's introduction only two weeks before ....



>>From listener Ryan D.:

Hello all,

Violence In Birmingham was one of the first ROIOs I ever received. I was still relatively unfamiliar with early Floyd - I did have all of the albums, however I didn't listen to them much. Even after hearing Main Theme on ViB I thought that the label was a misprint - I believed that i was listening to a long jam on the intro to Let There Be More Light. Regardless, Violence In Birmingham quickly became my favourite show to listen to - it was just *so* different, so unique.

When I first heard about JS+tBD's release of ViB as The Violent Pudding I knew that I would want to get my grubby paws on it. My tape of ViB was pretty much useless in this day and age of digital media, and it was an nth generation tape to boot. It sounded like shit. TVP was a godsend. The sound quality was much better (though, as the liner notes state, 'it still sounds terrible') and I began to pick up on nuances that could not be heard on my old cassette.

Now comes Project Birmingham. And after two-plus listenings all I can say is this: WOW!

I read all of the technical jargon that RonToon posted last month about how he had put the show together. Not being an audiophile of any sort I didn't understand half of what Ron said he was doing to the show - but I did know that this release would surely have to surpass TVP in quality (I assume Ron wouldn't release it otherwise). And surpass TVPs quality it surely does.

I took out my copy of TVP and listened to the first minute or so of Embryo. Ignoring the distortion and saturation that plagues this section, I listened to the music. On TVP it seems as if the notes blend together - there is no articulation. It sounds like I am on the other side of a giant wall while Pink Floyd plays toward the opposite direction.

This isn't quite the case on Project Birmingham. Five seconds into the opening of Embryo I knew we had a winner of a show. The notes were separate, for the most part, and now, instead of just being on the other side, I have my ear up against the wall, waiting for someone to call out 'would you touch me' .... erm ... yeah. Anyways, you can play this show LOUD and it will sound good - I look forward to being able to listen to it in my car, where previous versions of the show were difficult on the ear.

The whirling hiss Ron mentioned seems to me to only be noticeable when Nick is playing the cymbals. I do not know what it is about their tone, but they seem to bring that whirling effect out a little bit.

Another thing I want to comment on is how great of job Ed has done getting rid of the little pops and clicks that were prevalent on TVP. I understand that these are different sources (I think) so the task may not have been as daunting, but as of my third listen I have yet to hear any little excess noise - no pops, no clicks, no farts, nothing. This is a clean show.

I'll refrain from commenting on the performance as I think I do a horrible job at reviewing music, but I do want to point out that the rendition of CWTAE on this set reminds me greatly of the Oakland '77 performance, and that's not a bad thing, that's ... a good thing! :^D

Now, Ron, I really want to know what you did to complete Sysyphus and TAP. I had always assumed that these bits were lost forever. You hint at doctoring them a bit in your original posts on the matter, but you state that it's not a Frankenshow (god I love that word) of different dates. So I venture to guess that you copied and pasted completed parts of each tune over the missing sections, but that's a lot of space to fill, especially in TAP, which jumped from 9:42 on TVP to over 25 minutes on PB. What's your secret, dude?!

>>RonToon's response to Ryan D.:


If you don't like to know how magic trick are done, please avoid the rest of this post ;)

To answer Ryans question (and thanks for the great post, dude ;) )

<< Now, Ron, I really want to know what you did to complete Sysyphus and TAP.

Ryan was correct in remembering that I said that this was indeed a Frankenshow and those 2 song were now complete, but not used from alternate sources or shows.

Sysyphus was a no-brainer. It almost kinda works too. The end of the piece basically reprises the main theme that is played during the the 1st section. If you listen carefully, you can hear my segue. From that point on, it'll stick out like a sore thumb.

TAP was trickier. The source was much longer than 9:25 .... in fact, it plays out all the way through Nick's drum solo. I listened to a few other performances of TAP within a week's period to see how they were completing the piece after Nick's drum solo. Again, previous sections were reprised and repeated. Nick's solo ends with a drum roll re-introducting the main theme again. I just segued (I rarely do hard "cuts") together the next few sections that were repeated during the other performances. I think my edit is fairly true to the other complete performances as the ending of TAP on PB is comprised of 4 individual sections.

Now go enjoy the show and don't think of this all to much.

And, as Dr Frankentoon once said .... "IT'S ALIIIVE!"

>>Ryan D's final thoughts:

>Warning: SPOILERS

I'll repeat this-


>Sysyphus was a no-brainer. It almost kinda works too. The end of
>the piece basically reprises the main theme that is played during the
>the 1st section. If you listen carefully, you can hear my segue.
> From that point on, it'll stick out like a sore thumb.

I did notice this in my first listen, but I'll disagree that it sticks out like a sore thumb. It's noticeable, especially with headphones, but it's very well done and I doubt unsuspecting listeners would even notice.

> I think my edit is fairly true to the other
>complete performances as the ending of TAP on PB is comprised
>of 4 individual sections.

Well, Ron, you've done a masterful job at creating something out of nothing. It is definitely rewarding to be able to hear a 'complete' TAP when I listen to this show. The cut on all other versions of the Birmingham show was always a big letdown - it's like there was no reward for having the patience to listen to such a low quality recording. It's like having Echoes cut out just before the big climax prior to the final verse. It was disappointing. But now I can rejoice in knowing that I have a 'complete' recording of the show.

And speaking of 'complete', I fear that with Ron's fine handiwork now out for public consumption that some misguided fellow will get a hold of it, make a few copies, and start marketing it as, 'For the first time ever! Pink Floyd's Legendary show in Birmingham - the COMPLETE recordings!' or somesuch and make a few bucks off of it. Hopefully we'll be able to discover any type of this activity early. Or maybe I'm just a worrywart.

Thanks again, Harvested crew for another fine release.


Pink Floyd - 1970-02-11 - Birmingham

Pink Floyd
Town Hall

01. The Embryo
02. Main Theme From More
03. Careful With That Axe Eugene
04. Sysyphus
05. Project B
06. Set The Controls For The Heart Of The Sun
07. Atom Heart Mother

Pink Floyd - 1970-11-21 - Montreux

Pink Floyd
November 21, 1970
Montreux Casino

101. Astronomy Domine
102. Fat Old Sun
103. Cymbaline
104. Atom Heart Mother
105. Embryo

201. Green Is The Colour
202. Careful With That Axe, Eugene
203. Set The Controls For The Heart Of The Sun
204. A Saucerful Of Secrets
205. Just Another Twelve Bar
206. More Blues

The Montreux 40th Anniversary Series
Too Late For Mind Expanding (HRV CDR 036)

Mastertape by Victor
Remastering by MOB
Quality Control by EdP
Artwork by RonToon
Produced by Harvested Records

Victor's 2009 transfer: 2 x Sennheiser MD-421 > Uher 4200 reel recorded at 19 ips > Audio CD > EAC > FLAC
"The Good" recorder: unknown gen > Scotch Reel > DAT(0) > WAV@48Khz > Speed & Pitch Correction > FLAC@48Khz

It was 40 years ago today!

This new Harvested release provides the first of the two Montreux 1970 concerts in the most complete form and with the best possible quality. The main source was Victor's raw master transfer already shared last year. The ending part of Green Is The Colour and the following track Careful With That Axe, Eugene, not present on Victor's master, were taken from "The Good" recorder that surfaced some years ago on "The Good ... The Bad" RoIO ref. FA033.

Victor's raw transfer shared in November 2009 was first thought to be from the second concert, mainly because it matched "The Good ... The Bad" RoIO that was labelled from 22Nov70. However, based on Victor's recollections of the two shows and some pictures from his reels, it now appears that the present show with the two "blues" encores is actually from 21Nov70 (this show ended late, forcing the band to finish with a quiet blues). The second concert was added at the last minute for the next afternoon at 2.30pm (Roger sarcastically said "good morning" to the audience) and at this second show the encore was Interstellar Overdrive. But that's for our next release ... ;-)

Victor's master is a superb audience recording and a compilation cassette he did in the past from both concerts was copied by someone and ended up on the 1995 "Smoking Blues" bootleg ("Smoking Blues" is therefore at least 1st or 2nd gen, and even with that lineage some people thought it was from soundboard or from some EMI acetates that are most probably pure legend). Embryo, Just Another Twelve Bar and More Blues from "Smoking Blues" are from 21Nov70, but the versions presented here are upgrades, coming directly from the master and with an uncut More Blues (fading out on "Smoking Blues").

Despite its fantastic quality, Victor's master had some flaws that needed to be corrected. The speed was not consistent throughout the show: for some tracks, speed was absolutely perfect, while for others speed gradually slowed down (probably an "end of reel" effect during the play-back). Fat Old Sun, Atom Heart Mother and A Saucerful Of Secrets suffered from that slowing-down phenomenon and speed was corrected for these three songs. There were some channel loss and level fluctuations, the most obvious being during the first verse of Fat Old Sun. These were repaired. There were also drop-outs here and there, especially during the first 2 minutes of Cymbaline (one drop-out every 862ms, thus 140 drop-outs were manually corrected one by one in order to fully restore these first minutes of Cymbaline). The right channel became slightly weaker during Set The Controls and A Saucerful Of Secrets, where more drop-outs were present on that channel. These flaws were attenuated as much as possible. Last but not least, there were several cuts on the master: the very first chord of Fat Old Sun was missing and has been restored, a short cut during Mother Fore (AHM) was carefully patched, and the central part of Celestial Voices (ASOS) that was missing due to a tape flip, was restored from another show in order to save the continuity and progression to the climax of the song.

The end of Green Is The Colour, Careful With That Axe, Eugene and the first 30 seconds of Set The Controls were taken from "The Good" source. A lot of work was needed in order to restore that part, because of abrupt speed fluctuations during Careful, and also because "The Good ... The Bad" RoIO comes from a "tweaked" tape: the original audio capture is pure mono (there is absolutely no stereo separation between the instruments), but someone found funny to play with the faders during the analogue transfer, introducing artificial panning in order to fake stereo effects (these tricks were clearly done during an analogue mixing of the recording, not in the digital world). Speed was corrected segment by segment, and levels were carefully adjusted in order to restore the original music as it was on the master, i.e. in the centre of the stereo image, before the artificial panning ruining most parts of "The Good ... The Bad".

So there you are. The 21Nov70 Montreux concert in all its glory!

This is a rare case where all the stars were aligned: we have the best audience recording from that era, and at the same time the Floyd performance was really magic that night. All five songs of CD1 were delivered with fire and passion (including the most powerful rendition of Funky Dung ever recorded). And on CD2, the first part of A Saucerful Of Secrets (Something Else) shows the Floyd sounding like King Crimson would sound three years later. Another highlight of CD2 is Just Another Twelve Bar: even if not too interesting from a musical point of view, this song is a true rarity in Pink Floyd live repertoire (even if it's mainly based on the bass riff from Biding My Time).

Pink Floyd - 1971 - Pompeii

Pink Floyd

01. Intro
02. Echoes part I
03. Careful With That Axe, Eugene
04. A Saucerful Of Secrets
05. One Of These Days
06. Set The Controls For The Heart Of The Sun
07. Mademoiselle Nobs
08. Echoes part II

This is the original audio from the film, NOT the audio from the official DVD (audio track on "Director's Cut" DVD has additional reverb and effects). The present soundtrack is faithful to the original film.

Pink Floyd - 1967 - What Syd Wants

The Pink Floyd
What Syd Wants

101 Reaction in G             6:36
102 Arnold Layne              4:06
103 One in a Million          6:25
104 Matilda Mother            6:46
105 Scream Thy Last Scream    5:32
106 Astronomy Domine          7:32
venue:    Star Club, Copenhagen
date:   September 13, 1967
time:   36:57
source: Bernard's reels

107 Let's Roll Another One (rehearsal)
date:   January 20, 1967
time:   4:33

108 Matilda's Mother (Granada TV)
date:   January 27, 1967
time:   2:11

109 Interstellar Overdrive (Granada TV extended version with voiceover)
date:   January 27, 1967
time:   4:55

110 CBC Radio Interview (with Interstellar Overdrive)
date:   January ??, 1967
time:   10:40

side one total time:  59:17

Disc Two

201 Reaction in G             5:28
202 Pow R Toc H              12:04
203 Scream Thy Last Scream    4:36
204 Set The Controls         10:11
205 Interstellar Overdirve   13:55
venue:    Oude-Ahoy Hallen, Rotterdam
date:   November 13, 1967
time:   46:14
source: Bernard's reels

206 See Emily Play (acetate #1)
date:   May 21, 1967
time:   2:45

207 Scream Thy Last Scream (Jones mono mix)
date:   August 7, 1967
time:   4:39

208 Vegetable Man (Jones mono mix)
date:   October 9, 10, or 11, 1967
time:   2:37

209 Roger Waters interview (Swedish radio)
date:   September 10, 1967
time:   2:54
source: ???

210 Vegetable Man (1967 mix)
date:   October 9, 10, or 11, 1967
time:   2:53

211 Vegetable Man Jam (rehearsal)
date:   ???
time:   3:22

212 [In the] Beechwoods (backing track)
date:   October 20, 1967
time:   4:42

213 Green Onions (Tomorrow's World snippet)
date:   December 17, 1967
time:   0:32

214 Improvised Instrumental (Tomorrow's World snippet)
date:   December 17, 1967
time:   1:12

side two total time:  71:51

Dedicated in loving memory to Roger Barrett and Bernard White.

Liner notes:
"Bernard White died in 2005 and he is dearly missed by Pink Floyd fans from across the globe.

Before the sad events that lead to his death, he was a true groundbreaker in terms of Pink Floyd collecting and knowledge.

A contributor to various early books and articles about the band, with a happy knack of being in the company of the right people at the right moment, Bernard always had time to talk to fans who visited the various shops and market stalls that he worked in and owned in London.

People would track Bernard down from all over the world and stand around for hours asking questions and seeking a chance to borrow his precious reels, tapes and memorabilia. Most requests were politely declined but there were a lucky few whom he assisted.

The Copenhagen, Rotterdam, CBC and Irene Winsby recordings on these discs are from Bernard's reels. The two 1967 concerts were copied from a visitor to the UK capital in around 1975. Bernard knew Irene Winsby and CBC was from Capital Radio when they made the six-part Pink Floyd Story.

For this Harvested release, the reels were transferred using the best equipment under recording studio-type conditions, then enhanced and edited. A little more Rotterdam was found separately and added in to give a longer recording than most will have.

Much of Bernard's archive was disposed of hurriedly after his death, with very little regard to how it would be kept. Indeed, rumor has it that a lot of it was simply thrown away. The cream of the collection survived; however, and it's just possible that other items will reach the light of day."

This is a release that the Harvested Team has been working on for a while and big kudos to MOB and Ed for all their great hard work. This release will appeal mostly to hardcore fans that want a glimpse into the only known concert recordings of The Pink Floyd with Syd Barrett circa 1967. Even though the source for this was the master reels, the sound quailty is still pretty bad most of the time, yet shines through during others. Syd's vocals are absent (or barely audible) most likely due to a bad microphone or mix, but luckily a good part of the performance is instrumental (Matilda Mother at the Copenhagen gig rocks!!!). We felt that since we had the original source for these important historic recordings (that have been widely available for years) that they deserved a tedious remastering process in an attempt to create a definitive version of these shows.

Neil Young - 2014-03-29 - Hollywood

Neil Young
March 29, 2014
Dolby Theater
Hollywood, CA

Set 1
01. ~Crowd~
02. From Hank to Hendrix
03. On the Way Home
04. Only Love Can Break Your Heart
05. Love In Mind
06. Philadelphia
07. Mellow My Mind
08. Are You Ready For the Country?
09. Someday
10. Changes
11. Harvest(false start)
12. Harvest
13. Old Man

Set 2
01. Goin' Back
02. A Man Needs a Maid
03. Ohio
04. Southern Man
05. Mr. Soul (pump organ)
06. If You Could Read My Mind
07. Harvest Moon
08. Flying on the Ground is Wrong(false start)
09. Flying on the Ground is Wrong
10. After the Gold Rush
11. Heart of Gold
12. ~Encore Applause
13. Thrasher
14. Long May You Run

Led Zeppelin - 1977-07-17 - Seattle (DVD)

Led Zeppelin
July 17, 1977
The Kingdome 
Seattle, WA 

01. The Song Remains The Same
02. The Rover Intro / Sick Again
03. Nobody's Fault But Mine
04. Over The Hills And Far Away
05. Since I've Been Loving You
06. No Quarter
07. Ten Years Gone
08. The Battle Of Evermore
09. Going To California
10. Black Country Woman
11. Bron-Yr-Aur Stomp
12. White Summer
13. Black Mountain Side
14. Kashmir
15. Out On The Tiles / Moby Dick
16. Guitar Solo
17. Achilles Last Stand
18. Stairway To Heaven
19. Whole Lotta Love
20. Rock And Roll

Title: The Year Of The Dragon "The Definitive Edition"
Label: Empress Valley Supreme Disc
Lineage: Original Silver DVD

Video Attributes:
Video compression mode: MPEG-2
TV system: NTSC
Aspect Ratio: 4:3
Source picture resolution: 720x480
Frame Rate: 30.00
Bitrate: 4.00Mbps

Audio Attributes:
Audio Coding mode: Dolby Digital
Sampling Rate: 48kHz
Bitrate: 448 Kbps
Channels: 6 chnls (3/2 .1)

Zappa Plays Zappa - 2014-09-14 - Wilmington

Zappa Plays Zappa
September 14, 2014
Ziggy’s By The Sea
Wilmington, NC

01. The Gumbo Variations
02. Son of Suzy Creamcheese
03. Call Any Vegetable
04. Tell Me You Love Me
05. Who Needs the Peace Corps?
06. Mother People
07. Eat That Question
08. Zoot Allures
09. Dirty Love
10. Peg
11. Florentine Pogen
12. Cosmik Debris
13. Camarillo Brillo
14. Drum Solo
16. Montana
17. Teenage Prostitute
18. Apostrophe
19. I’m The Slime
20. Zomby Woof
21. crowd & tuning
22. Black Napkins
23. Dinah-Moe Humm
24. Muffin Man

Zappa Plays Zappa - 2014-09-12 - Raleigh

Zappa Plays Zappa
The Lincoln Theatre
Raleigh, NC

01. intro
02. The Gumbo Variations
03. "tiny camera song"
04. Son of Suzy Creamcheese 
05. Call Any Vegetable 
06. Tell Me You Love Me
07. Who Needs the Peace Corps? 
08. Mother People
09. Eat That Questionrdnzl
10. Zoot Allures
11. Dirty Love
12. Florentine Pogen
13. "filler"
14. City of Tiny Lites
15. Cosmik Debris
16. Camarillo Brillo
17. Drum Solo 
19. Montana 
20. Teenage Prostitute
21. Apostrophe
22. Zomby Woof
23. Dinah-Moe Humm
24. Muffin Man

Dweezil Zappa - Guitar
Scheila Gonzalez - Saxophones, Keyboards, Vocals
Kurt Morgan - Bass
Ben Thomas - Vocals, Trumpet, Trombone
Chris Norton - Keyboards, Vocals
Ryan Brown - Drums, Vocals

Zappa Plays Zappa - 2014-02-14 - Denver

Zappa Plays Zappa
February 14, 2014
Ogden Theater 
Denver, CO

01. Filthy Habits
02. Preamble
03. Penguin in Bondage
04. Pygmy Twylyte
05. Dummy Up
06. Village of the Sun
07. Echidna's Arf (Of You)
08. Don’t You Ever Wash That Thing?
09. Preamble
10. Cheepnis
11. Son of Orange County
12. More Trouble Every Day
13. Preamble
14. Be-Bop Tango
15. Teenage Wind
16. Teenage Prostitute 
17. Preamble
18. I Come From Nowhere
19. Preamble
20. What’s New in Baltimore
21.  Preamble
22. Black Page #1
23. Black Page #2
24. Preamble
25. The Torture Never Stops
26. Encore Applause
27. Florentine Pogen
28. Don't Eat the Yellow Snow
28. Cosmik Debris
29. Muffin Man

Dweezil Zappa-Guitar, Vocals
Sheila Gonzalez-Woodwinds, Keyboards, Percussion, Vocals
Ben Thomas-Vocals, Trumpet, Trombone, Guitar
Ryan Brown-Drums, Vocals
Kurt Morgan-Bass, Vocals
Chris Norton-Keyboards, Vocals

Zappa Plays Zappa - 2014-02-13 - Englewood

Zappa Plays Zappa
February 13, 2014
Gothic Theater
Englewood, CO

01. Montana
02. Peaches En Regalia
03. San Ber'dino
04. What's New in Baltimore?
05. Apostrophe
06. Dweezil Banter
07. I'm So Cute
08. Flakes
09. Broken Hearts Are for Assholes
10. The Black Page #1
11. The Black Page #2
12. Intro
13. I Come From Nowhere
14. Debra Kadabra
15. City of Tiny Lights
16. Improvisation (Jam with young kid playing Dweezil's guitar)
17. Uncle Remus
18. Dweezil Banter
19. Outside Now
20. Eat That Question
21. Zomby Woof
22. Encore Break
23. I'm the Slime
24. Willie the Pimp 

Zappa Plays Zappa - 2014-02-11 - Phoenix

Zappa Plays Zappa
February 11, 2014
The Celebrity Theater
Phoenix, AZ

01. Filthy Habits
02. Penguin in Bondage
03. Pygmy Twylyte
04. Dummy up
05. Village of the Sun
06. Echidna's Arf (of You)
07. Don't You Ever Wash That Thing
08. Cheepnis
09. Son of Orange County
10. More Trouble Every Day
11. Be-Bop Tango
12. The Torture Never Stops
13. Teenage Wind>Teenage Prostitute
14. The Black Page # 1 (drum solo)
15. The Black Page # 2
16. Flakes
17. Broken Hearts Are For Assholes
18. Florentine Pogen
19. ~encore applause~
20. Don't Eat The Yellow Snow
21. Cosmik Debris
22. Battery pack (malfunction)
23. Zomby Woof*
24. Muffin Man


Dweezil Zappa - guitar, vocals 
Scheila Gonzalez - saxophone, flute, keyboards & vocals 
Ben Thomas - vocals, trumpet, trombone, percussion 
Chris Norton - keyboards, vocals 
Kurt Morgan - bass 
Ryan Brown - drums
James Santiago - guitar* (Scheila's Hubby)

Taper: fezz

Zappa Plays Zappa - 2014-02-07 - Augora Hills

Zappa Plays Zappa
February 7, 2014
The Canyon Club,
Agoura Hills, CA

01. The Torture Never Stops
02. Dweezil's intro to "Roxy and Elsewhere"
03. Penguin in Bondage
04. Pygmy Twylyte
05. Dummy up
06. Village of the Sun
07. Echidna's Arf (of You)
08. Don't You Ever Wash That Thing
09. Cheepnis
10. Son of Orange County
11. More Trouble Every Day
12. Be-Bop Tango
13. Filthy Habits
14. Teenage Wind>Teenage Prostitute
15. The Black Page # 1 (drum solo)
16. The Black Page # 2
17. Florentine Pogen
18. What's New in Baltimore
19. Zomby Woof*
20. ~encore applause~
21. Cosmik Debris
22. Muffin Man 


Dweezil Zappa - guitar, vocals 
Scheila Gonzalez - saxophone, flute, keyboards & vocals 
Ben Thomas - vocals, trumpet, trombone, percussion 
Chris Norton - keyboards, vocals 
Kurt Morgan - bass 
Ryan Brown - drums
James Gonzales - guitar*

Zappa Plays Zappa - 2013-10-19 - Toronto

Zappa Plays Zappa
October 19, 2013
Queen Elizabeth Theatre
Toronto, ON 

00 - intro (1:06)
01 - The Gumbo Variations (10:37)
02 - Penguin in Bondage (5:38)
03 - Pygmy Twylyte > Dummy Up (8:48)
04 - Village of the Sun (3:18)
05 - Echidna's Arf (Of You) (3:53)
06 - Don't You Ever Wash That Thing (10:25)
07 - Cheepnis (4:47)
08 - Son of Orange County (7:16)
09 - More Trouble Every Day (8:14)
10 - Be-Bop Tango (Of the Old Jazzmen's Church) (19:51) 
11 - Florentine Pogen (10:59)
12 - Teen-Age Wind (2:50)
13 - Teenage Prostitute (2:39)
14 - The Black Page #1 and #2 (11:47)
15 - Flakes (8:42)
16 - Broken Hearts Are For Assholes (3:49)
17 - Wonderful Wino (
18 - I Come From Nowhere (9:00)
19 - Cosmic Debris (6:03)
20 - encore crowd (2:24)
21 - The Duke of Prunes (Orchestral Favorites version) (5:03)
22 - Muffin Man

Zappa Plays Zappa (current line up):
Dweezil Zappa - lead guitar, vocals
Scheila Gonzalez - saxophone, flute, keyboards, vocals
Ryan Brown - drums, vocals
Ben Thomas - lead vocals, trumpet, trombone
Chris Norton - keyboard, violin, vocals
Kurt Morgan - bass, vocals
Pete Jonesthe guest vocalist on "Wino Man"


Dweezil Zappa Guitar Clinic
October 19, 2013
Queen Elizabeth Theatre
Toronto ON

01 - intro and Peaches En Regalia question
02 - Sweep Picking Intro and exercise 1
03 - Sweep Picking Exercise 2
04 - Sweeping, Odd Time and Enclosures
05 - "Po-jama People" Dweezil's Ending Lick
06 - Getting The Most From Just Four Notes
07 - Growing Big Ideas from Small Ones
08 - Outside Notes and Finding Your Voice
09 - Learning FZ's Harder Material
10 - Gibson Zappa Roxy and Elsewhere Tribute SG
11 - The Strangely Compatible Lick
12 - Conclusion

Taped/Seeded by: jmz93

Zappa Plays Zappa - 2013-10-16 - Glenside

Zappa Plays Zappa

October 16, 2013
Keswick Theater
Glenside, PA

01. The Gumbo Variations
02. Penguin in Bondage
Pygmy Twylyte
Dummy Up
Village of the Sun
Echidna's Arf (Of You)
Don't You Ever Wash That Thing?
03. Cheepnis
Son of Orange County
More Trouble Every Day
04. Be-Bop Tango (Of the Old Jazzmen's Church)
05. Florentine Pogen
06. Teen-Age Wind
07. The Black Page
08. Flakes
Broken Hearts Are for Assholes
Wonderful Wino
09. I Come From Nowhere
10. Cosmik Debris
11. Encore Break
12. San Ber'dino
13. The Duke of Prunes
14. Muffin Man

Dweezil Zappa: Guitar
Scheila Gonzalez: Saxophone, Flute, Keyboards & Vocals
Ben Thomas: Vocals
Chris Norton: Keyboards
Kurt Morgan: Bass
Ryan Brown: Drums

Zappa Plays Zappa - 2013-10-11 - Indianapolis

Zappa Plays Zappa
October 11, 2013
The Vogue
Indianapolis, IN

01. The Gumbo Variations
02. Penguin in Bondage
03. Pygmy Twylyte
04. Dummy Up
05. Village of the Sun
06. Echidna's Arf (Of You)
07. Don't You Ever Wash That Thing?
08. Cheepnis
09. Son of Orange County
10. More Trouble Every Day
11. Be-Bop Tango (Of the Old Jazzmen's Church)
12. Florentine Pogen
13. Teen-Age Wind
14. Teenage Prostitute
15. The Black Page
16. Flakes
17. Broken Hearts Are for Assholes
18. Wonderful Wino
19. I Come From Nowhere
20. Cosmik Debris
21. encore break
22. The Duke of Prunes
23. Muffin Man

Zappa Plays Zappa - 2013-09-05 - Columbus

Zappa Plays Zappa
September 05, 2013
LC Pavillion
Columbus, OH

01 Penguin In Bondage
02 Pygmy Twylyte
03 Dummy Up
04 Village Of The Sun
05 Echidna's Arf (Of You)
06 Don't You Ever Wash That Thing
07 Cheepnis
08 Son Of Orange County
09 More Trouble Every Day
10 Be-Bop Tango
11 Entertainment Tonight
12 Teenage Wind
13 Teenage Prostitute
14 Black Page 1&2
15 I Came From Nowhere
16 Montana
17 Wonderful Wino
18 Back In Black
19 Muffin Man

A Zupanic Production