Bootlegs you recommend

Ms. Haiku

olderman wrote:

Seattle 2000. 2nd shoe. Number 72 on the list.

My favorite boot of all. If you want, I will burn it for you, M.

Just send me a PM.

Thanks for the offer! I'll just do it from the download thread. I'm looking foward to seeing why it was so good, though

I went to #1, and it was, you know, fine.

Ms. Haiku

a_scratching_voice wrote:

yeah, the radio broadcasts and soundboard copies are excellent.

Melbourne 3/17/95 http://www.megaupload.com/?d=5J6UEUV4
Berlin 11/3/96 http://www.megaupload.com/?d=2D6ZDGAZ
Tivoli 3/4/92 http://www.megaupload.com/?d=3RL18VHB
Amsterdam 2/12/1992 (Part 1) - http://www.megaupload.com/?d=ZWOZVQUX
Amsterdam 2/12/1992 (Part 2) - http://www.megaupload.com/?d=HY2V5WVM
to name just a couple

Thanks for these. They are on my list!

fanch75

Ms. Haiku wrote:

If you have bootlegs you would recommend please post the name of the concert, and if possible *please please please* could you include the link to the MP3? If it's in the download/share thread could you write what post it's on?

http://stuffwhitepeoplelike.wordpress.com/2008/03/30/93-music-piracy/

"Stuff White People Like"

#93 Music Piracy
March 30, 2008 by clander

White people have always been renowned for having ridiculously large music collections. So when file sharing gave white people a chance to acquire all the music they ever wanted, it felt as though it was an earned right and not a privilege.

When (not if) you see a white male with a full iPod, ask him if all of his music is legal. If he does not immediately launch into a diatribe about his right to pirate music, you might have to nudge him a bit by saying “do you think that’s right?” The response will be immediate and uniform.

He will likely rattle off statistics about how most musicians don’t make any money from albums, it all comes from touring and merchandise. So by attending shows, he is able to support the musicians while simultaneously striking a blow against multinational corporations. He will proceed to walk you through the process of how record labels are set up to reward the corporation and fundamentally rob the artist of their rights, royalties and creativity. Prepare to hear the name Steve Albini a lot.

Advanced white people will also talk about how their constant downloading of music makes them an expert who can properly recommend bands to friends and co-workers, thus increasing revenues and exposure. So in fact, their “illegal” activities are the new lifeblood of the industry.

When they have finished talking, you must choose your next words wisely. It is considered rude to point out the simple fact that they are still getting music for free. Instead you should say: “Wow, I never thought of it like that. You know a lot about the music industry. What bands are you listening to right now? Who is good?”

This sentence serves two functions: it helps to reassure the white person that they are your local “music expert,” something they prize. Also, it lets them feel as though they have convinced you that their activities are part of a greater social cause and not simple piracy.

If you bring up this issue with white person who says “nah bro, I don’t give a shit, Dave Matthews has enough money as it is.” You are likely dealing with wrong kind of white person.

In the even more rare situation where someone says “it’s all paid for, and it’s all transferred from vinyl.” You have found an expert level white person and must treat the situation carefully.

Because of the availability of music online, a very strict social hierarchy has been created within white culture whereby someone with a large MP3 collection is considered “normal,” a large CD collection is considered to be “better,” and a person with a large vinyl collection is recognized as “elite.”

These elite white people abhor the fact that music piracy has made their B-sides, live performances, and bootlegs available to the masses. Their entire life’s work has been stripped of its rarity in terms of both object and sound on the record. The best thing you can say to them is: “vinyl still sounds better.”

However, it is recommended that you do not let this conversation drag much longer. If you let them continue talking to you they are likely to spend hours talking to you about bands you’ve never heard of and providing you with a weekly mix CD of rarities that you do not want.

Ms. Haiku

a_scratching_voice wrote:

Utrecht: Tivoli - 1992
Red Rocks II - 1995
Pittsburgh - 2000
St Johns I - 2005

I downloaded Pittsburgh 2000. It's one of the next 3 I will listen to.

MayDay10

Buffalo 2003
Calgary 2005


Those are my 2 favorites

Ms. Haiku

Any thoughts on Camden 2000 either show?

benJAMin

Buffalo 2003 - The band was tight, the crowd was nuts, and the setlist/length of show was unreal. A gem that is often overlooked because of State College, which was the following night.

Ottawa 2005 - Another incredible setlist, and the solos and crowd participation were sick. Black is worth downloading this show alone.

I attended both. Often I'll say that seeing them live carries most of the weight in a recommendation, but these are always the ones that stand out on their own as boots to me.

Ms. Haiku

benJAMin wrote:

Buffalo 2003 - The band was tight, the crowd was nuts, and the setlist/length of show was unreal. A gem that is often overlooked because of State College, which was the following night.

Ottawa 2005 - Another incredible setlist, and the solos and crowd participation were sick. Black is worth downloading this show alone.

I attended both. Often I'll say that seeing them live carries most of the weight in a recommendation, but these are always the ones that stand out on their own as boots to me.

Well, those are at least the second recommendations for both. On my list!

brainofPJ

any booy from the Binaural Tour...the last time Ed was on top vocally and the band consistently kicked ass.

Detroit 2003, night 2 (very underrated....they only played TWO songs from Riot Act despite that was the album that was just released...awesome)

elmer

Go to page75 of the Download/Share Thread, there's a long list of shows going back to the early 90's. I haven't too many but Paramount Theatre~NY 94 is amazing, sound quality good too if you don't mind the screaming teenyboppers.

Also, Anoeta Veladrome~San Sebastian~Spain 96 has some great performances, in particular Black.

Many of the downloads are M4a, just use itunes to burn them off.

LedBetter10

Ottawa 05
Philly 05


Albany 06

Ms. Haiku

a_scratching_voice wrote:

Tivoli 3/4/92 http://www.megaupload.com/?d=3RL18VHB

Listened to this last night. The more I listen to bootlegs the more I wonder where this early-angst-ridden-Eddie idea comes from. He's a total mother hen! "Hey you, be careful, you motherfucker!" Ok, a mother hen with a polar-bear mommy attitude.

Now, Jeff, there, he's a little feisty, eh?

fanch75

brainofPJ wrote:

Detroit 2003, night 2 (very underrated....they only played TWO songs from Riot Act despite that was the album that was just released...awesome)

I love it that only playing 2 songs from riot act is a strong attribute to an bootleg from that tour...hahaha. Well done, Braino.

Jason P

Portland 06 is damn good.

pjsteelerfan

I was just listening to NJ 01- 2006- great version of Indiffernce and Ed's speech before Leash is classic. great show.

Stone Is God

Tivoli 92 was a sound board. It's awesome.
Atlanta 4/3/94
Soldier Field 7/95

Ms. Haiku

If you are a musician how would you view bootlegs of your shows?

Would you view them as separate entities from the show - like a playing deck of art cards from a museum. The action of the present is as important as the artistry of the past.

Or would you view your bootlegs more like photographs? The importance is in the past although the artistry can be appreciated in the present?

obiwon76

I dusted off the Nashville show from 2000 this morning on the drive to work. "Sometimes" as the opener, a great extended version of "Daughter" with the R.E.M. "Wrong Child" tag with Ed really hitting the "Okayyyyyyyy" notes.

The 2000 boots are very interesting because if you haven't listened to a show for years, it's almost like a new experience. You forget the little things that you once remembered when you first got it and basically played it 7-8 times in a month. I get giddy when after each song, I'm in that listening phase for that first note, or Stone tuning his guitar to get some sort of hint of what will be played next.

boroff89

All three of the San Francisco shows from 2006 are amazing.

Vancouver from 2003 is actually an underrated show.

San Antonio from 2003 is a very solid bootleg as well.

not4u

2000 verona