@bipod72 - good points - back in the 70's, there were a few record shops that I would scour for the latest bootlegs from Zeppelin, Pink Floyd, etc etc. Some sounded decent, but most were pretty dreadful audience recordings.
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@larsman What does and doesn't surprise me is that there's a market for rare bootlegs now from a collector's standpoint but certainly not from an audiophile standpoint. You're right that many/most were dreadful audience recordings. I recall reading about some guy in California in the 70s that would go to shows by Zep, Tull, etc, and roll up in a wheelchair with a tape recorder hidden underneath. He apparently made some good recordings and then gave bootleg copies out for free. |
This thread has provoked a wicked game of hide-and-seek with my now unreliable memory. I humbly ask to be excused if I repeat stuff I've already mentioned on this site. As much as I love my Zeppelin albums, I enjoyed their live concert still more. The same goes for my encounter with Bob Marley and the Wailers, who I saw at the Roxy. I saw the Byrds several times, and to my ears they were never nearly as good live as they were in the studio. It was the exact opposite with Crosby Stills Nash & Young. The concert I saw with Herbert von Karajan and the Berlin Phil tramped all over the recordings I have that feature them. My experiences regarding Pink Floyd are 50-50. Likewise, both live and canned Chuck Berry was equally excellent. I could go on. And on. And on. |
Unplugged Nirvana, Eagles, Clapton, Zep’s BBC sessions, Zappa’ New York, Roxy, A night in SF, Jazz at Pawnshop, Live at Leeds, Deep Purple Made in Japan, Talking Heads The name of the band, Portishead Roseland NYC, Belafonte at CH, China Jean MJ, Kraftwerk Min Max, Tangerine Dream Ricochet and Encore, Laurie Anderson Home of the Brave, are some nice examples. Then you have the ballets, Swan Lake, Romeo and Juliet... opera, classical in general but these cannot be performed in a studio. Generally a very few number compared to studio releases (contemporary). |
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