A conversation with Freezer (pt 1)

Image appropriated from here.

A conversation with 'Freezer', part 1.  Rest in peace, Arthur G. Parr.

I didn't want this to just languish away, so have decided to publish my correspondence with him.  I'm not sure what anybody reading will get out of this.  This is the first entry of what promises to be many.  The messages have been minimally edited, mostly for formatting and to fix any misspellings.

The Sex Pistols recording that had started the brouhaha was posted back on 2008-12-07.  To date, no better version of the Kingfish New Orleans date has surfaced.

I had asked Mr. Parr about another recording, New York Dolls, I believe, and asked "Wonder if this was one of yours...no lineage given...", along with a list of tapes Reed had done which intersected with recordings that Parr was involved with, and got back a massive reply:


2009-01-17 12:50:59 GMT

No, it's not.

By that time, I'd moved to Los Angeles/Hollywood and was working in a band out there, and taping in the Southern California area.

However, again another, a different one of my master tapes has shown up on dimeadozen -- this time with NO information given, or more likely, all information removed -- though there is the slight possibility that it may just be an alternate tape of a show I recorded. VERY slight.

http://www.tapecity.org/showthread.php?t=22017  (url defunct)

http://www.dimeadozen.org/mes..receiver=9355&replyto=1036122  (likewise)

However, the fact that it's a 36 year old tape (36 years ago TONIGHT, in fact...) of a show that was sparsely attended, due to the bad weather and small venue, makes it harder to imagine that another taper was at the show, considering the number of tapers around in 1973 in New Orleans......sigh...oh well.

In your previous message you alluded to my sort of 'disappearance', well, here's why...

The reason that I have dropped out of sight lately is that I'm just getting tired of beating the same dead horse. (Another owner of a private tracker appeared at TTD to bait me into a flame match, another of the 'entitlement" gang, he's entitled to every recording, and he does not dirty his hands making tapes, but spent 'thousands' to remaster shows. He wouldn't sully his hands on anything I recorded, but when I looked at his site, sure enough, there were a number of my tapes, and all with the correct lineage removed, except one, a Jeff Beck/Jan Hammer show from the :Where House" in New Orleans on 12/8/76, which "couldn't be a freezer tape" even though he heard my voice on it... go figure...)

I know that sometimes another recording pops up of a show that I also taped, but, well, without going into detail, I've noticed other listings that you've said were on Reed's list, and these are also shows that I attended and recorded. I'm just not telling you which others overlap.

I'll just wait and see what else pops up over time.


Sam, you've been totally straightforward with me, and I hate to with-hold anything, but I've just re-read much of our previous communications.

All along you've been defending Reed and taking a stance that when and if Alan "Skull" Lorber re-surfaces, all of those muddled lineages will be cleared up.

All along, I've actually contacted some of my old close and not so close friends in the New Orleans band scene from the 70s and 80s and NO ONE knew this name, no one remembers anyone with the nickname SKULL.

Not one of the folks I spoke to or e-mailed knew Reed either.

After re-reading our messages back and forth, I'm sorry, but I'm highly doubting that there even is a "Skull" Lorber. Or that such a person existed.

You are only going by what your friend Reed told you, I'm talking to people who were a part of the New Orleans Punk/New Wave crowd. A scene I was a part of, where I worked nightly. Why is it that no one knows of either of the named you gave me, Sam?

I sat with a friend who owned one of the music venues and he didn't know either.

Why are you so positive that there even was this "Skull" person?

Sam, I'm trying to be polite, and I'm not accusing you, but I was there and O can supply tapes of bands I was in or worked for.

Sam, I was at that Sex Pistols show. Your friend, Reed, was not. Yet you have taken his word while you let him cast doubt on someone who is a lot higher up the food chain than he was, no matter what he told you. In fact, he's let you defend his second hand story, while sitting on the side lines not wanting to get involved.

A Google search on Alan "Skull" Lorber revealed nothing.

I also did a search on Reed, I see there is a Reed Hayward at [redacted] in New Orleans. My grandparents lived at 1104 Seventh. I know the neighborhood well. Its near the corner of Magazine Street in New Orleans.

You've said that Reed had some problems post Katrina, well so did I, as did most residents of this city. That's not a valid excuse to me, it's a common experience.

You've said that you noticed much about me from what you saw on Traders Den, well, that's the tip of the iceberg, I actually resurfaced about 2002 when I first started playing around on line. One night in 2002 I started wondering if any of the old recordings I made were still being traded about.

Silly me, not only were they being traded about, there were guys offering digital copies made directly from the master tapes. Especially in the Led Zeppelin circles.

When I started telling people that this couldn't be true -- because the masters hadn't been even played in over 20 years and that I was the taper and knew that for a fact there were never any digital copies from the masters ever made, well, damn me, I was flamed left and right because no one wanted to believe that what they had wasn't what their good trading buddy told them.

From people who blatantly told me they were 'entitled' to share my recordings while I got zilch in return for the privelege of giving something to them.

While you and I have been entirely civil to one another, you've alluded to your friend Reed, being offended because I pointed out that the lineage you gave out was incorrect....and I did so only to keep the trade pool clean.  [ed note: I think Reed was more offended by the tone of the interaction]

Should I not feel offended that someone gave you incorrect lineage and didn't publicly apologize for their error??

And whether or not your friend Reed was intentional or not with his faulty lineage, there are now people who believe they have something they just don't have. And neither you nor I know if Reed has traded or passed around that recording before or since with the incorrect lineage.

Someone peed in the trade pool, intentionally or not.

I again tell you I don't know Reed, I never traded with him, and I have no idea why his lineages are wrong on recordings that I made. But dead wrong they are. Absolutely.

When you sent me that short list of New Orleans tapes, and I saw recordings I actually mixed and those lineages are so thoroughly dead wrong, I must tell you that now I'm suspicious....and you can hardly blame me for feeling that way.

That Normals tape from the Warehouse is the capper. Their soundman, Jess, was so loaded that night, he fell asleep, and me and Vince (from Sound City, a New Orleans instrument and amplifier retailer) did the actual mix. I only recorded a portion of the Normals set, mainly because I didn't like the band, (though the drummer is a friend).

I didn't even use anything but a cheap C-60 to record on, because I wasn't planning to record the Normals, but as the soundman for the Dukes, I usually had a bag of cables and tools and I just happened to have a tape that I recorded over to capture the Normals on.
(there were heroin addicts in that band, and I always made it a point never to hang around or work with addicts, I eventually quit working with the Dukes for the same reason).

That someone should claim to have that as M1 (or first gen if I'm reading it correctly) is incredulous to me. I gave ONE copy to Chris Luckette, their drummer, and I suspect that Chris gave a copy to Jess, and from there it was spread about. And the tape I gave to Chris was on a crappy C-60, as I was not in the habit of giving high bias tapes away. Why would I, as I was in the habit of being paid to work at mixing, not spending money for the "privilege" of mixing a band I didn't care for.

And calling that a "rare" recording is crazy. I can make that readily available, in a lower gen than anyone else could, but outside of a handful of New Orleans fanatics, who cares?
It's a waste of time.

Sam, I am not looking to argue with you, I'm just trying to get you to see the logic on my side and the complete absurdity of what you've told me is either coming from Reed or what you are trying to posture as a possibility for the incorrect lineages.

In any case the bottom line is this, Reed does not have what he told you....a copy of the Sex Pistols tape from Baton Rouge in 1978 with a verifiable lineage.

If and when it shows again, I will point out that no copy of the Pistols BR 1978 is in circulation with a correct and verifiable lineage, no matter how many 'nighttwats' are trolling with the belief that they are "entitled" to something they weren't offered. I will trade if I'm offered something I want, but that's it.... Otherwise, I suggest that what you offered is a slight "upgrade" from the common bootleg, but that's like saying a $200 dollar Ford is better than a $250 Ford, or that an Orange bean is better than a Red bean, its hardly any difference.

I don't know, Sam, but I suspect that somewhere along the line, that Sex Pistols Baton Rouge recording was misrepresented on purpose. Since I have not heard from anyone but you, all I know is that someone prior to you must be the the guilty party and there is only one actual name listed. I have to think that if your friend is not at fault, then he would have been stepping up to defend his claims about this "Skull" person or trying to at least help in solving this 'mystery'.

He didn't.

And none of our private communications were made public, AND my public statements were bland, stating only that the lineage was incorrect. Further, Reed has no right to feel indignant, you actually do, and not with me, but with the person who left you hanging out on that limb.  [for the record, I don't feel this way]

Actually I have more right to feel indignant than he does, I am not offering his recordings at all, much less with incorrect lineage. And I'm not indignant or even angry....just at a loss to understand why there are so many recordings now in circulation with bad lineage, and no one stepping up to try to correct the matter when spotted.

But I do know that some tapers I knew years ago think its funny that their old tapes are the cause of such heights of foolishness, as to cause traders to pass around bad copies as masters.

I believe that's why you met with folks actually believing that you were really passing around a low gen copy of the Pistols in Baton Rouge recording. There is a need to think that they are actually getting something from the experience. In other words, they traded in their 200 dollar Ford for a 250 dollar Ford. Its a big deal to someone who was on a bicycle, right?

You're right, there was no offer from me on the table to trade with Reed, it was me wondering aloud why he wasn't interested in trying to obtain something with a correct lineage from the only person who could offer such.

Oh well, this has gone on way too long in this reply and has gone on for far too many back and forth messages.

You can forward this on to Reed if you like and either of you can contact me when and if this "Skull" person does appear. I'm betting I'll never hear from either Reed or "Skull".... but I'm sure I won't have heard the last of this 'low-gen' copy of the Pistols in Baton Rouge now.

I'm really getting burnt out on the hobby myself, and it really doesn't matter that lineages aren't kept. Once we're gone, nobody will care or will be able to sort out a true and correct lineage anyway. They'll be too many Reeds with friends like "Skull" who become the standard..... and then everyone can have all "low gens" and no one will have to bother about lineages, everybody will all have master clones of everything.

....whether they are or not.

(The Led Zeppelin community is already there, along with the Pink Floyd collectors.)

Sorry for wasting your time, Sam. You're a good guy and your heart is in the right place, but you're swimming upstream against a riptide....But thanks for letting an old guy prove a point to you.... That's why I started out with the links to that Free 1/17/73 show. Even after making a master copy available, somebody had to pee in the trade pool.

Best regards,

and on the subject of the NY Dolls tapes:

(another defunct URL)

And the person who got the Pistols recording is NOT the same as the people who got that Dolls recording. And the band members who got those tapes do not know Skull either, I've spoken to them.

The Kinks
Sept. 24, 1980
Centroplex, Baton Rouge

intro--You Really Got Me
The Hard Way
Where Have All The Good Times Gone -- Tired Of Waiting
Catch Me Now I'm Falling
Bird Dog
Low Budget
(Wish I Could Fly Like) Superman
Imagination's Real
You Really Got Me (tape flip)
A Gallon Of Gas
Celluloid Heroes
All Day and All Of The Night
Twist and Shout
David Watts

Elvis Costello and the Attractions
January 23, 1981
The Warehouse
New Orleans, LA


2009-02-28 20:37:34 GMT

This was followed by an exchange from somebody involved in the "New Wave" New Orleans happenings:
Yes, this was Reed's recording, a really good one too. It turns out that what dimenew posted is most likely a digital clone of Tom Martin's first-gen copy, dimenew mentioned that he had gotten this from a big Butthole Surfers/Big Black fan quite a while ago (not remembering the name), which according to Reed was a good description of what Tom's musical preferences were. So you're right...but it's untrue that he never made digital copies, since while the master tape itself is misplaced, at least two CD-R clones from it were made, with Jerry (Reed's friend who maintains his collection currently) having one and Mark B. in Redlands, CA having the other. At some point, the hope is that a digital copy from the master can be made available.
On another topic, would you have any idea who the 'Freezer' guy that posted in the Sex Pistols Baton Rouge '78 seed I put up may be? As best I gathered, his first name is Art/Artie, which may be short for Stuart, and he apparently in addition to taping (according to him) thousands of shows in Louisiana since 1967, was also in one of the area "new wave" bands and did live sound mixing from time to time. Also, not sure if you have any more information on "Skull" (Alan Lorber)...Reed said that he taught at Tulane University, and it turns out that 'Freezer' was a grad student during that time, but denies ever knowing or having any interaction with this person. Most strange.
Thanks for taking the time to read this, by the way.
Hiya Sam,

Yes - I know all of the aforementioned people except this "Freezer" guy, who turns out to be a real jerk (unfortunately).

I worked with both Skull and Tom Martin at a record store on Decatur Street in the mid/late '80's. Jerry Schumacher should have the master of that Siouxsie show. I haven't seen/heard from Tom in some time, but I believe I have his addy somewhere. I saw Reed when I went back to NOLA last year during Jazz Fest, at the Roky Erickson show.

I doubt Skull taught at Tulane; perhaps that is someone else. The Skull I (and Tom Martin) knew was in a band called Skin Sect and before the record store worked at a clothing store called BONGO (on Royal Street).

Anyways, it was good to hear from you. Let me know if you have any other information...



Back to the Present - MALE GAZE profile

Male Gaze at the Knockout

Felt compelled to take a break from my slow excavation of my live recordings to share this with you, as it beggars belief how terrific this group Male Gaze is.  Longtime readers (all three of you) won't be surprised to hear me say this, but I actually hadn't heard them properly until last week...a couple of months back I played "Cliffs Of Madness", thought it was pretty good if a little abtuse, and then promptly went back to whatever it was I was doing.  Only recently, with a chance to catch them in the act, did I start paying closer attention...and finding nothing but brilliance as I've been playing the hell out of the songs they've put out so far...which are:

Cliffs Of Madness
Think Twice          

Both courtesy of Unpianomusic, in their last ever post!  Per the site's policy, I've removed the direct links to the songs that I had.

As well as:

Smog Dawn (09.28.14)

The first two tracks are out on a Mt. St. Mtn 7", I'd urge you to pick up this black-and-clear beauty before the pressing of 500 is sold out.

Certain reviews have made references to the vocals reminding one of a certain mister I. Curtis or D. Bowie.  I don't really hear that, as flattering as that I'm sure was intended to be, but vocalist/guitarist Matt Jones' vocals *are* quite striking, with a quease-inducing warbling vibratonics interspersed with high-pitched harmonies.  It was one of the things that I loved from his previous band, Blasted Canyons.  Here, the approach is more angular and buzzzzzed/fuzzzzzed out, and as good as jams like "Ice Cream Man" and "Get High" were, they are Saturday morning cartoons compared to the grunge-cum-psych-raj exhibited here.  Props should also go out to ex-Mayyors Mark Kaiser, providing probably the scuzziest basslines I've heard in quite a while.  Rounding out the lineup is ex-Mall drummer Adam Cimino.  If this doesn't make you want to take a deep dive through the Mayyors and Mall back catalogs, you're a better person than me.

Since they'll be putting out a disc on Castleface records early next year, I'll leave you to discover them the same way I did, watching them play at the Knockout recently (put on by the fine folks at Savoir Faire) along with Landlines and The Woolen Men (both superb products of PDX) and another local outfit, Michael and the Strange Land.

However, I did snag a clip of them performing CoM that I will share...

Update:  I just found a live track (unknown title) they did at the Witch Room in Sacramento back on 4/18:


My Sixth Recording - Xiu Xiu - 2007-04-23 - Bottom Of The Hill SF (incomplete)

photo by David Downs

Xiu Xiu
Bottom Of The Hill
San Francisco CA

thehappyone recording, done with Sonic Studios DSM-6 into PA-6 batbox, plugged into a Sony MZ-RH10 MD recorder (PCM mode).

pre-gig PA tracks:

The Now - Mouthful of Bees
Punkrocker (Feat Iggy Pop) - Teddybears, Iggy Pop
soundchecking, Supernatural Car Lover - Robert Pollard
Brainstorm (live) - Arctic Monkeys


Sad Pony Guerilla Girl
Bishop, CA
Ceremony (cut)
I Luv The Valley OH! [not on recording]
Yellow Raspberry (start missing)
The Fox and the Rabbit

Also played:

Vulture Piano 
The Wig Master

Note: My recording only includes the first through start of the third song, and the fifth and sixth song. I was really bummed that it cut out during the start of "Ceremony", as it was an excellent version, too.  I didn't note what else was played, so I've had to piece together what would have been in the setlist based on reviews and whatever other recordings have surfaced.  

There's a Paper Heart, Phoenix recording from the month before (2007-03-25, to be exact) that has the following setlist:

Sad Pony Guerilla Girl
Bishop, CA
I Broke Up 
Sad Redux-o-Grapher
Boy Soprano
I Love The Valley OH!
The Fox and the Rabbit
Buzz Saw
Vulture Piano
Yellow Raspberry
Fabulous Muscles

So based on this, I'm pretty sure that at least Boy Soprano and Fabulous Muscles were performed...here's an list of all the other media I was able to turn up of this show...the record is somewhat fragmentary.

East Bay Express article, by David Downs, that states "Vulture Piano" and "The Wig Master" were played.

David Downs videos:

"I Luv The Valley OH!", last 1:14, later in the set...my recording cuts during the intro of "Ceremony"(dying battery) and I restarted it a bit further into the set and got a couple more tracks, but not this one.

Ben Mirov videos, documenting one of the later songs:

"I Broke Up" (2:32).  

I didn't record their set.

Less-than-positive review from vulpture...I don't know what this blogger was expecting...KC and the Sunshine Band?  Much of Xiu Xiu's material comes from a very dark place, and seems as pretentious and honest as art should be.  I know that they are a very acquired taste, so no worries if it is not your thing, and sometimes I find them awkward and forced, but when they make an impact, it is with the full force of the best music has to offer.


My Fifth Recording - The Fall - 2006-05-15 - The Independent SF

Photos by Brian McClowsky

The Fall - Reformation! (live review)

From an original audience tape by "Lammah". A good quality audience recording with all instruments being well represented. Initially vocals are a little quiet but pick up as the gig progresses.

The first leg of the 2006 American tour completed with a stunning night at The Independant in San Francisco. The relatively new backing line-up play magnificently and the "new" track "Systematic Abuse" gets a re-working. Some incredible mixing and use of echo on various numbers transports the classic Fall sound into new dimensions. Tim Presleys guitar work adds new value to the Fall sound and Rob Barbato provides stunning but solid underpinning to the group sound. Orpheo McCord is an excellent drummer and adds significantly to the dynamic of the bands live sound.

There have been mixed feelings about the standard of this band and the recent sackings of three long-standing members. However the general view would appear to be that this iteration of the Fall is the most accomplished in some time bringing in a new era and providing a transition from the "garage" sound which has predominated for the last three to four years.

Download in MP3 format

Source: AUD - Sonic Studios DSM-6L > bat box > Sony MZ-RH10 Hi-MD (PCM) > Sonic Stage (for WAV conversion) > CD Wave Editor > FLAC (5)

No Re-EQ'ing, compression, or anything else done!

Quality: EX- pretty much centered, fairly minimal annoying audience chatter, only thing I hear that's annoying is my mic cut out for a split second at about 0:14 of 'What About Us'.


01 - intro [0:54]
02 - Bo Demmick [9:00]
03 - Pacifying Joint [6:14]
04 - Theme From Sparta FC [4:45]
05 - Mountain Energei [9:37]
06 - Wrong Place Right Time [6:51]
07 - What About Us [9:31]
08 - I Can Hear The Grass Grow [3:16]
09 - pre-encore cheering [2:18]
10 - Systematic Abuse [8:10]
11 - Mr. Pharmacist [2:44]
12 - outro [1:48]

Total: 1:05:12

My notes:

They sound even better than what I heard from tomzero's seed from the night before. I was expecting a shambles, what I got was a band tighter than a duck's behind, even though they have been together only for a week, as Mark's former band (sans Elena, of course) along with their tour manager had bailed and flown back to England after a disastrous show in Phoenix.


My Fourth Recording - Peter Hook DJ Set - 2005-10-28 - Mezzanine SF

Hooky gives the thumbs up!

(written back in 2005)

It's weird going to any dance club alone. 

This was a social event more than a flesh exchange, so, luckily, nobody hit on me. Though somebody did come up to me to ask something...more on that later.

Apparently, Stussy (umlaut over the u), which is a clothing company, was having some sort of celebration so all of their folks had all-access. Last time (when Hooky dropped by Popscene), I dragged my wife along, and had to leave early because she wanted to get home and we needed to get an early start for the next day...well, that was the day before Kaiser and my trip to So. Cal to see Coachella.  Not sure how long he played, but this time, it was for about three hours! Popscene was packed.  For some reason, this event was more sparsely attended, and the location is about 2x the size of Popscene to boot. 

The special guest (whom I found out only last night) was Andy Rourke formerly of the Smiths. He's looking all right these days, he was drinking quite a bit during his set, which was basically performed with an iBook.  I happened to tape much of his set, so you you can hear for yourself that he's basically just playing music and not doing much in the way of mixing. [Hooky, too, it turns out, to quite an infamous reaction].  I didn't get a chance to go up to him, but a couple of people asked for (and got) autographs and took pictures with him. One disappointing note.  No Freebass tracks, as far as I tell. 

Doubly curious since 2/3's [well, not really, but that's what I thought back then] of the group were there. So, while I'm watching Andy do his thing, none other than the man himself comes walking by...but by the time I react, he's well past me, and there's nothing worse than chasing, both in poker and in brushes with greatness.  However, Hooky and a young man came by again, and I had a brief chance to talk to him. I found out that he's working with LTM on releasing all the gems he has in his vaults....no, just kidding. I only had the werewithal to ask him how long Andy Rourke had been beatmixing... er, DJ'ing. Hooky laughed, shrugged, and referred me to the young man that was next to him.  At the time, I didn't figure out until afterwards that young man was his son Jack! The cool part is that I was taping at this point, so you'll likely be able to hear this.  I'm about 90% sure this was Jack, since I recall reading that he would accompany the old man on his nights out, but I'm not totally positive about it, but he does bear a bit of resemblance to his father, but has curly hair and will probably have no trouble with the ladies. 

The first part of Hooky's set was the pretty bog-standard sequence (Captain and Tennile's Love Will Keep Us Together mixed with LWTUA followed by Grace Jones' SLC, etc)...a well-put together set, actually, which, by the end turned into an 'Item' listening party, with New Order track after New Order track.  This is not a bad thing at all, mind you, as there's nothing more transcendent than having tracks played to you by one of the people responsible for their composition, especially by the person I daresay is now [was] the heart and soul of the group.  
He was clearly enjoying himself, at several points trying to get a cute-looking girl who was probably affiliated with the club to help mix.  And at one point Jack grabbed her to keep her from going. Smart lad, that apple doesn't fall very far from the tree, as they say. 

By the time Hooky was done, there were only myself and 20 other diehards out of the total of 100-something from before left... we were having a blast, singing along and dancing along like the drunkards most of the group were at that point, I only had a single Pale Ale, I'm dangerous enough as it is without getting pissed.  I taped most of it, but ran out of disc (and battery) during the latter part of Crystal, after approximately 2hr 40m of music. Not bad, and I may have gotten even more had I used the wall outlet AC instead of USB to charge it (the MD-RZ10 also takes a single AA attachment to extend battery life).  I could have probably gotten a couple more hours of bat life (and certainly enough room on a single 1Gb disc) had I recorded in ATRAC SP mode, but I believe in keeping it lossless if at all possible.  [funny that I've only sharing this in MP3 format]

And unlike my Kaiser recording, this one was quite listenable without any further processing. In fact, it turned out surprisingly good. The AGC on those units is wicked fast, it's not easy to tell that the unit is constantly volume limiting. So I missed out on (going by memory) EGG, Temptation ('83 version), True Faith, Regret, WIM (full singalong in effect), and the first part of Moby's Temptation to chill-out and give the message to the faithful to sod off, even I was yelling out, "Haven't you lot had enough?". 

It was well worth the price of admission plus nearly that much to park. As I was walking out, a couple of the lads were putting their best Blighty on and singing to WIM and "Manchester, la-la-la" as they staggered out the door. Well, I use "lads" loosely, one was wearing a nose ring. I'm sure they're NOOL'ers...didn't run into anybody I had met earlier, though I did recognize one lady from Popscene. Near the end, one individual goes up to me and asks whether I'm Arthur Baker! I nearly doubled up from laughing, but still had enough breath to tell him that nope, I wasn't, pointing out that Arthur Baker is quite a bit fatter and older than I am. I'm not sure if this made the tape or it had cut out by then [ed: it made in onto the recording]. 

I managed to give Hooky a copy of 'Excerpts From Recycle'. He accepted it and shook my hand...For all I know he might bin it, and it's a bit late to the part after Item, but there's still a few interesting things on there.  Will be interesting to see if anything comes of it. He might even play a track off of it, who knows.

One other bit of trivia. Hooky was smoking at a couple points, and so was Jack. Shhh...Don't tell...
Hooky waves at yours truly.

Setlist for Peter Hook

Captain And Tenille - Love Will Keep Us Together vs. JD - Love Will Tear Us Apart (Malcolm McLaren)
Grace Jones - She's Lost Control vs Ian Curtis original vocal
Dub Pistols - World Gone Crazy
Tom Neville - Just Fuck
Benny Benassi Presents The Biz - No Matter What You Do
The Shapeshifter's - Lola's Theme (internal cut at 1m50s swapping MDs)
Steve 'Silk' Hurley - Jack Your Body
New Order - Krafty (Morels Pink Noise vocal)
New Order - Bizarre Love Triangle (remix)
Bodyrockers - I Like The Way
La Phaze - Rude Boy
Sugirumn - Boogie Nights
Karl Bartos - 15 Minutes Of Fame
Chemical Brothers - Galvanize
Chemical Brothers - Out Of Control
The Killers - Mr Brightside
The Killers - All These Things I've Done (remix - includes Hooky bass bit)
Sex Pistols - Anarchy In The UK
Happy Mondays - 24 Hour Party People (Jon Carter mix)
Joy Division - Transmission (with Buzzcocks - Ever Fallen In Love teaser)
Monaco - What Do You Want From Me
Johnny Cash - A Thing Called Love (Jerry Reed Hubbard)
New Order - Blue Monday (remix)
New Order - Crystal (cut)

Download link (MP3)

Setlist for Andy Rourke

Chris Issak - I Dont' Want To Fall In Love (end) 
Pet Shop Boys - West End Girls
Annie - Chewing Gum (Mylo remix, radio edit) (cut) [missing Herbie Hancock - Rockit from source]
Le Tigre - Decptacon
The Bravery - An Honest Mistake
Ian Brown - F.E.A.R.
The Rapture - House Of Jealous Lovers
Happy Monday - Halleujah
Marlena Shaw - California Soul
New Order - Blue Monday (mash-up with 'We Can Make Sandwiches')
The Breeders - Cannonball
Elastica - Connection
The Pixies - Debaser
Kaiser Chiefs - I Predict A Riot
The Clash - Train In Vain
Massive Attack - Unfinished Sympathy

Download link (MP3)

(Lossless for both sets available upon request.  Maybe.)


New Order - Krafty

Joy Division - Transmission + Monaco WDYWFM

New Order - Blue Monday


My Third Recording - Sleater-Kinney / Mary Timony Catalyst Santa Cruz 2005 June 6

The Catalyst
Santa Cruz, CA

taper: lammah
kit: Sonic Studios DSM-6 > -20dB attenuation via cable > Archos AV320


intro  [2:57]
The Fox  [3:46]
Wilderness  [3:44]
Youth Decay  [2:45]
Combat Rock  [5:44]
Rollercoaster  [5:15]
Modern Girl  [3:03]
Jumpers  [4:25]
One More Hour  [3:18]
What's Mine Is Yours  [5:41]
Was It A Lie?  [3:17]
Everything  [3:05]
Steep Air  [3:55]
Light Rail Coyote  [3:32]
Let's Call It Love  [14:19]
Night Light  [3:33]
Entertain  [8:19]

I Want To See The Bright Lights Tonight (Richard and Linda Thompson)  [2:49]
Get Up  [3:49]
Oh!  [4:36]

Total:  [1:32:03]

Third ever show taped.  Warning: this is a pretty awful recording.

I normally eschew using hiss reduction, but no choice here as in reaction to my overly brickwalled/clipped New Order recording the month before, this time I used a -20dB patch cable to attenuate what was coming in from the mic.

You can guess what happened...it ended up being way too quiet, meaning that after normalizing, in addition to the hiss, you get to hear the Archos AV320's HD spin up after every minute and 15 seconds or so...sorry about that.

Went with a couple of friends to this show, not sure why we went here instead of SF unless that show was already sold out or wanted a more intimate venue (probably both).

For some odd reason, I never really followed their releases closely, but there probably were at the peak of their game at this point.  The year after, they went on indefinite hiatus, but did get back in 2013, and may end up working together again.

The opening set after the break...


My Second Recording: New Order / Henry J. Kaiser Arena - 2005-04-29

New Order
Henry J. Kaiser Arena
Oakland, CA


She's Lost Control
Love Vigilantes
Hey Now What You're Doing
True Faith
Run Wild
Waiting For The Sirens' Call
Bizarre Love Triangle
Love Will Tear Us Apart 

Blue Monday

My second audio recording, and my third time seeing one of Manchester's finest, the last times being 1993 and 2001.  I ended up also seeing them at Coachella that weekend, but was barely pressed to survive the festival, much less consider recording it.

My friend Mike S. lent me his 90s vintage Sonic Studios DSM-6L mics (tucked underneath the shirt I was wearing) and PA-06 battery box, and I proceeded to plug them into an Archos AV320 HD recorder.  This was an era, before smartphones and tablets where watching portable videos meant lugging along a portable DVD player or bringing a laptop...it also seemed to be suited to use as a audio recording device.  One problem:  the built in hard drive was not designed to withstand any sort of jolt or shock, meaning that I missed both the opening She's Lost Control, Love Vigilantes, and a portion of the third song Regret...as well as the encore, though that may have been due to running out of battery power, which is why I didn't attempt to tape the openers, Chemical Brothers.

Another problem was that still being an absolute taping greenhorn, I set the input gain way too high, resulting in a distorted mess, but was mostly-somewhat able to clean up with judicious use of Nero's audio editor's de-clipper.  A few tracks of this were shared on New Order Online a few hours at the show, as for some ungodly reason I was in a hurry to get this out before leaving for Indio.  Had I had more sense back then, I would have just buried it in my backyard, never to be heard again.

Luckily for me, a second version showed up a few years later, though was only able to find this version 192K MP3s versus the usual lossless used by live music sharers.  While recorded more distantly, as we were right in front of Hooky if memory serves me correctly, it's overall a more pleasant listen, and the links to SLC and BM above are to that version.

At one point in time, a YouTube by the handle of "austinpowers61" put up clips of Crystal / Bizarre Love Triangle / True Faith / Blue Monday, but his account is no more.  I'm working on tracking these down...until then, we're left only with about eighteen seconds of the start of LWTUA recorded by Zachary Culbertson.

For a transcript of Bernard's oft-amusing between-song banter, you are directed to the new-order.net site.  I recall we were all fairly pleased with their performance, think it was one of their best of the pre-return-of-Gillian era.  Although during BLT, there's a truly horrific improv of Madonna's Like A Virgin during the verses *ahem*, I will neither confirm nor deny that was my doing.


My very first audio recording: The Devil Makes Three w/The Shots (live 2005)

source: last.fm

The Devil Makes Three
Espresso Gardens
San Jose CA

taper: thehappyone, debut taping outing!
kit: DPA 4080s > Sony M1 DAT


00 pregig [3:18]
01 upcoming events [3:30]
02 introduction [0:43]
03 Shades [4:28]
04 'dancing license' [0:59]
05 Beneath The Piano [1:43]
06 'we got ourselves a travis' [1:21]
07 Jug Band [3:37]
08 'story about LA' [3:48]
09 Judgement Day [3:16]
10 'the shots' [1:09]
11 South Nashville Blues [Steve Earle cover] [2:24]
12 Graveyard [4:15]
13 The Bullet [3:45]
14 Black Irish [4:05]
15 Sweeping [3:35]
16 Tow [4:29]
17 Hometown Blues [Steve Earle] [2:19]
18 'not playing the craziest one' [0:47]
19 Mantap [4:00]
20 Statesboro Blues [Blind Willie McTell] [3:20]
21 Ten Feet Tall [3:08]
22 Uncle Harvey's Plane [Roger Miller] [4:15]
23 Old Number Seven [2:26]
24 'broke the g-string' [1:29]
25 Bangor Mesh [3:43]
26 Nobody's Dirty Business [Mississippi John Hurt] [4:27]
27 St. James [3:47]

TOTAL [84:17]

Opening set for the Shots:

The Shots
Espresso Gardens
San Jose CA

taper: thehappyone, debut taping outing!
kit: DPA 4080s > Sony M1 DAT


01 pregig blather [1:22]
02 introduction [1:17]
03 St Patrick Was A Gentleman [3:09]
04 'song two' [2:17]
05 Drunk Under The Trains [3:05]
06 White Chromosone [2:15]
07 These Boots Are Made For Walking (Nancy Sinatra) [3:20]
08 The Hesitation Blues [2:47]
09 You're Hise Lover Enough [1:50]
10 Diaspora [3:56]

Total [26:19]

This is my very first audio recording. Went with my friend Roy B. and my wife, think Roy was the biggest fan of this group. As far as I know, this is the earliest recording I've seen of this group, predating the 'A Little Bit Faster And A Little Bit Worse' live album by a year, which during the intro they had announced they were recording, so this in effect is a preview. Lots of hilarious chatter between tracks from Pete/Lucia/Cooper, accompanied by their sound tech/merch man 'Travis'. This is the day after they had played in SF (St. Patrick's Day) to a thousand people, or so they claim.

An ex-coworker/friend let me borrow his kit for this show, but had to give it back shortly afterwards (he needed to record Blue Floyd)...never used a DAT to record a show again.

Seem to remember I had a bit of a cold so was coughing and sniffling a bit.

The 4080s are *tiny* mics, think I had them stuck in my shirt or something. There's also a bit of distortion/clipping in places due to their positioning, and I think I actually had the input gain set pretty high.

I've listened to this recording a couple of times since March 2005, think it's pretty decent for a first effort, and the performance is super.  Probably why I've continued to record.


Back to the start: My very first recording, Lush at Union Square, 1992

I'm changing up things around here somewhat.  Think I'm going to just put out every one of my recordings, in chronological order...still aiming for once or twice a month, but may end up being more often.

This is a first-gen VHS dub of my Sony Handycam CCD-F70 8mm recording, and is indeed the very first thing I ever recorded.   What a hell of a way to start.  Too bad the world would have to wait another thirteen years before my next recording, and that would be as different to this as one could get.

Copious notes are to be found in the YouTube post.

By the way, there are no less than four different video recordings of this show.  Here are the other three, courtesy of "Roy Oh" and coolerthanjesus.webs.org.

See the Light From A Dead Star writeup for more information.  These are listed in version order. What's scary is that I may actually have a fifth one kicking about, but have the tape in storage.

And for kicks, here's video featuring my most recent recording, of a group called Wooden Shjips at the Chapel last Friday the 23rd of January.  This song is called "Lazy Bones".

If you're interested in the full audio recording, it's here (membership required).


Terry Malts - 2012-06-19 - The Barboza Seattle [SR recording]

Happy 2014.  Another previously unshared recording from the AMH archives, courtesy of SR.

Terry Malts
The Barboza
Seattle, WA

taper: SR
kit: Schoeps MK4 mics > Naiant Tinybox > Sony PCM-M10

00 intro
01 Nauseous
02 Not Far From It
03 Where Is The Weekend?
04 What Was It?
05 Tumble Down
06 Waiting Room
07 Disconnect
08 I'm Neurotic
09 Something About You
10 Can't Tell No One [Negative Approach]

Looked like tons of fun had by all as lots of beer can got thrown (accurately, to boot), Corey's amp busted, and there was lots of snarky comments...click on the You(Tube) icon if you want all the spoilers revealed...

I have no idea what's in store for me beyond a Wooden Shjips show next week and Dum Dum Girls with Blouse opening in April.  I do like the idea of occasionally visiting my archives on the order of once every couple of weeks.  So stay tuned...next up, I'll start with my very first recording!