The Clash: London Calling Live

This mix pulls together unreleased Clash performances to approximate a live version of the album “London Calling.” It includes 16 of the album’s 19 songs. The band does not appear to have played the other three in concert (“The Right Profile,” “Lovers Rock,” “The Card Cheat”).

It’s a challenge to make such a mix, due to the poor sonics of most Clash bootlegs and the infrequency with which some of the “London Calling” songs appear on recordings. A few songs appear only once or twice, in terrible quality. (I hasten to add that I'm not a Clash bootleg expert.)

Nonetheless, I think this mix manages to find exciting, clear performances of nearly every song, even if the original recording situation didn’t deliver a perfect mix or giant sonic punch. 

I’ve balanced the volume and sequenced the mix to gently step you through sonic changes, gradually losing dynamic range. At the start of the mix, you’re right in front of the stage. By the end, you’ve moved to the back of the theatre, into the lobby, and finally, with “Four Horsemen,” into the bathroom.

This mix owes a big debt to @a_mike_supreme, who supplied a considerable number of hard-to-find tracks and great versions, and then provided essential feedback on the first draft. 

Cover art by Pennie Smith.

51-minute mp3 mix zipped up here

  • Clampdown (5/10/81 Amsterdam)
  • Train in Vain (5/10/81 Amsterdam)
  • Brand New Cadillac (6/9/81 NYC)
  • Spanish Bombs (11/27/82 Jamaica)
  • London Calling (9/21/79 NYC)
  • Koka Kola (9/21/79 NYC)
  • Jimmy Jazz (9/14/79 Chicago)
  • Guns of Brixton (3/8/80 Passaic, NJ)
  • Wrong ‘Em Boyo (2/27/80 Paris)
  • Lost in the Supermarket (5/22/83 San Antonio)
  • Revolution Rock (10/81 London?)
  • Death or Glory (5/19/83 Wichita Falls, TX)
  • Rudie Can’t Fail (3/7/80 NYC)
  • I’m Not Down (7/6/79 London)
  • Hateful (7/6/79 London)
  • Four Horsemen (8/4/79 Finland)

If you’d like to check out a live version of the album “Sandinista!,” you’ll find that right here!

The official live release, “From Here to Eternity,” contains versions of three “London Calling” songs: “Train in Vain” and “Guns of Brixton” from June 1981, and “London Calling” from September 1982.

The official release, “Live at Shea Stadium,” recorded October 1982, contains versions of the same three songs, plus “Spanish Bombs” and “Clampdown.”

The 25th anniversary edition CD of "London Calling" included The Vanilla Tapes, rehearsal sessions for the album. Spoiler: Even the murkiest of the live versions on this mix is probably better than anything on The Vanilla Tapes. 

And if you don't think the Clash's second album was possibly their best, try this version

The Grateful Dead: Ready for More? (new songs 1993-1995)

Listening to the recent Grateful Dead release, “Ready or Not,” revived my enthusiasm for the band’s final batch of original compositions. 

Dave Lemieux’s picks are excellent. Finding versions of some of these songs that can stand tall enough to serve as “the official version” is near impossible, but you’d hardly know that from the album. I don’t know what kind of crazy Venn diagram Dave has to dance through to get releases out, but he did a great job with this overdue album. Thanks, pal!

After spinning “Ready or Not” in my car for a week, I was still excited about the songs, but I wanted to change up the versions. 

So, I hunted through all the Save Your Face 1990s mixtapes to pull together additional tasty performances of the songs. I’ve compiled the best of those into the mixtape below. (I excluded tracks that I put on an earlier draft of the final album, “Liberty,” which was limited to March 1994 shows. This mix is a far better companion to "Ready or Not.")

The exciting discovery - once you get into a version-comparison situation – is that the band approached several of these songs quite differently over time. That means that I was able to choose some great performances that contrast strongly with those on “Ready or Not.”

The Grateful Dead: February 1973 Improvisational Highlights

This post offers a three-piece, chronological survey of improvisational Grateful Dead performances from their first seven shows of 1973 – February 9th to 24th – none of which have been officially released. Highlights of the last two shows of the month (2/26 & 2/28) were released as “Dick’s Picks, Vol. 28” (2003).

February 1973 was rough going for nearly all the many new songs the band was learning on-stage that month, and old standards weren’t often particularly tight or exciting, compared to late 1972 or later 1973.

However, the improvisational band leapt into 1973 with a big grin on its face – continuing its rapid expansion into the spaces opened up by Pigpen’s departure from the stage in mid-1972. (He died in March 1973). “Like a steam locomotive, rolling down the track,” the Dead were constantly departing and arriving in this period. 

This mix is a dense collection of February’s more exploratory passages. I included full (sung) songs and made instrumental edits as I saw fit, in order to avoid anything that got in the way of the overall momentum and quality.

The Grateful Dead: Terraplayin’ (1993-1994)

Pretend that Spotify recommended this music because you listen to a lot of Khruangbin.

I have smashed together more than two hours of improvisational segments from late 1993 and 1994 Grateful Dead performances of “Playin’ in the Band” and “Terrapin Station.” 

At the time, the approaches to those two songs’ jams were closely related, and together they represent one of the highlights of late, improvisational Grateful Dead. Slinky, fusion-y, blue-green, dance music.

Everything on this mix appeared on previous Save Your Face mixes. I made a rough-cut playlist, and it turned out to be great for everything from snow shoveling to copywriting – a Dead “mood” that both rewards close attention and functions as sophisticated wallpaper music. 

So, I decided to take out the remaining vocals and tidy up the edges. Many of the segues originated on the earlier mixes I pulled from, and I welded a few more things together for this mix. Some edits are good illusions and others will be obvious, but they help create a dramatic ebb and flow of the band's Playin’ dilations and Jam-Out-of-Terrapin concentrations. 

This is what the mix will look like in your music player, if you download the zipped mp3 file. Anything that’s named “Terraplayin’” is an edit of related performances, featuring at least one jam from each song. 

2h13m mp3 file zipped up here

Metal Box in Dub (PIL) - March 23, 2012 - Hebden Bridge

In 2012, founding PIL members Jah Wobble and Keith Levene reunited to form a touring band that played the PIL material they created together in 1978-1979. (Unable to use the PIL name, they were called Metal Box in Dub.)

To hear Wobble and Levene (bass/guitar) lock into these grooves again, for the first time in decades, is something else. And with no spitting punks or Lydon pressures to deter them, their band freely explored the jam-band potential of early PIL.

Players:

  • Jah Wobble: bass
  • Keith Levene: guitar
  • Nathan Maverick: vocals
  • Mark Layton-Bennett: drums
  • Sean Corby: trumpet

Lydon’s vocals are performed by the freakily on-point impersonator Nathan Maverick, plucked from “The Sex Pistols Experience” tribute band. Maverick has exactly the voice and flexibility of the young Lydon, so he can fluidly wail, keen, warble, and twist his way through Lydon’s wild, late-1970s vocalizations. 

A curation of Metal Box in Dub’s recorded performances would make a fantastic Record Store Day release. In the meantime, here’s a great-sounding, whole-show recording I managed to grab at the time of the tour. 

two-hour, mp3 file zipped up here

  • Graveyard
  • Theme
  • Annalisa
  • Careering
  • Poptones
  • Memories
  • No Birds
  • Death Disco
  • (band intro and crowd)
  • The Public Image
  • Low Life
  • (between-song chatter)
  • Understand
  • Albatross
  • (singer changeover)
  • Graveyard (vocals John Robb)
  • (thank you and goodnight)

There's plenty of YouTube video of this group playing live on various dates. You'll find informative press clippings and interviews from the time as well.

Letters from Latvala

I corresponded with Grateful Dead archivist Dick Latvala from early 1996 until sometime before his untimely death in 1999. This was approximately the period of “Dick’s Picks” volumes 4 through 11.

The first couple of years happened on 20th century terms, transacted in paper and cassettes and postage. I still have all those tangible artifacts. By the spring of 1997, we were both on e-mail – latvala@earthlink.net and jah6@acpub.duke.edu. Very little of the resulting electronic exchange remains. I found a few dust motes in the deepest reaches of my HD, which sprang back to life with the application a droplet of .txt extension. 

I was prompted to dig out my Latvala letters by the launch of the Latvala-tribute podcast, “36 from the Vault." I found a number of comments from Dick that shed light on his thinking at the time.

From Mailed Letters

2/11/96: “I, too, would stay in the 1971>1974 period for at least 20-30 releases! But, as you can imagine, variety will always be a variable to consider. So, it is almost an obligation to mix things up. Any help you might know about (for ex. shows from the 80s) would always be appreciated.”

3/6/96: Tombstone blurb – “Hi John, that was an amazingly accurate analysis of a whole bunch of things. I have never received such a knowledgeable & stimulating letter!” 

3/6/96: “I really can’t answer your questions, since these very issues are playing such a large part of what I think about all the time, when it comes to the question of what to release. So far, I’ve backed off ‘the whole show’ (but may still do so when it feels right!) concept. And I’ve thought quite a lot about eventually getting to the idea of 2-3 CD’s of the best of a run of 2-3 shows at any particular venue. But it still feels like there are some more possible releases in the style we have established. I surely will never get into the idea of a CD consisting of the ‘best versions’ of various songs or would I ever consider (unless righteously coerced) the best of a whole tour. But I do see something like a box set of Pigpen, or other bits & oddities that exist. Anything is possible.”

4/2/96: “I don’t have a terrible problem with releasing shows that aren’t complete shows, or even releasing the best of 2 or 3 nights at one venue. (Which is what 2/13-14/70 was an example) If someone wants the whole show, with all the ‘dead-air’ included, then he can simply get into tape trading.” 

4/2/96: “Your comments on the special-ness of hearing 2-3 conversations going on in the audience that is captured on tape, well I guess I will agree that it is ‘perverse,’ (no, a better work would be UNIQUE!). I, too, think that this is also cool and interesting & goes towards making each tape special in its own right…”

4/2/96: “What shows are you wanting to see released? I enjoy assimilating many opinions on this slippery subject.” 

4/2/96: “P.S. I couldn’t simply break up the 2/14/70 jam, and insert the 2/13 version of “We Bid You Goodnight,” into the 2/14 jam. That is really going too far. Imagine what kind of precedent that would establish!” 

4/2/97: “Your letter was a nice surprise. After digesting it, I have come to the conclusion that we should e-mail, or talk on the phone. I finally made the big jump into cyberspace, and I’ll bet you’re familiar with that territory. Anyway, I had a bunch of thoughts, but I’d rather get your attention in the ‘here & now” so to speak… I am 2 months into the computer, so I can barely get everything working properly, let alone start wandering around & learning stuff. My new e-mail address is: latvala@earthlink.net. See you, Dick”

And there the paper trail ends. We never talked on the phone. On my deepest HD, I found several emails from Dick.

From Emails

5/8/97: “I liked your selections for listening or should I say re-listening? 1985 isa year that I have forgotten a whole lot about.  there are some great 80's shows, but I really think that you are better off focusing your attention of the earlier years! I think it is important to get all of the shows from 1972-74. There are still a number of shows that I have not heard yet, and it is more than likely time to review all of my past reviews and see if I feel the same way about everything…”

5/8/97: “The question about the particulars of the vault… Rest assured that there is no damage as such. There are quite a few tapes missing throughout the years, but other than that things are in good shape. And what do you mean about this elusive "Eyes of the World", that is not getting on any DP's??? We haven't even gotten to the era where most of the great ones were performed! Or maybe I should say that we are just now getting to the proper era.”

5/9/97: “… I really think that you have a good idea about releasing something from the 2/19/71 through 8/26/71. Obviously, we have the multi-tracks from the Fillmore East shows in April 1971. But I am beginning to think there might be something else the might happen that would be a great surprise. We shall see. Got to go.”

5/21/97: “Today the video crew is coming out from Boston to interview me about the next "Dick's Picks". The announcement of what this release will be, is going to be made on 6/14/97, on VH-1, and on the internet and at our tape playing party at the Fillmore that night. After the disaster of how DP #7 was analyzed and dissected even before the release was made, we have easily come to the conclusion that we shall tell nobody ever again, and maybe just maybe Deadheads that do find out, will be able to keep their mouths shut so as to not spoil the surprise for the rest of us. We shall see.”

6/8/97: “Anyway, we only have 6 days before the big announcement of what the next "Dick's Picks" is going to be. I kind of wish that I was one of those out there that will get to experience the surprise, when it is announced on VH-1, this coming Saturday night. I'll talk to you soon, I hope.”

7/13/97: “P.S. I can almost absolutely guarantee that 9/27/72-Stanley Theater, N.J. will be a "pick" as soon as I can get back to that era. It only seems fair to open things up a bit now." (I was actually urging Dick to release 9/28/72!)

7/13/97: “PPS- I have to say that I'm pretty embarassed about that "infomercial" onVH-1, June 14. It was not at all the way I wanted to announce the winner of the date for the next "Dick's Picks". (5/2/70 that is) And I'm even more emotionally out of control about how much time was devoted to the show from Ithaca, N.Y. (5/8/77) I really am puzzled about why people want this show to be "officially" released, when there are perfect copies available from almost any taper. I think there are better shows from that era, even that month!”

From notes included with cassettes Dick sent me

8/14-15/71 (Berkeley, CA): “These two shows just recently surfaced, and they have never been in our vaults. A relative of an ex-employee who died seems to have been the source. I put together the highlights for each show on cassette. I hope it gets you as powerfully as it blasted me. The jamming on the 8/14 ‘Other One’ is some of the most exciting & screamiest music I’ve ever heard.” (9/7/97)

2/19/73 (Chicago, IL): “Hi John, thanks for sending me that interchange w/Pig. I decided to record over it with something that is PRETTY NICE.” (7/98) 

Dick was collecting combative exchanges between Pigpen and the engineers. He didn’t have a recording of the “cut your head off and shit in it” declaration from Pigpen – I don’t have any idea, now, when that was from (1971, maybe?) – but that’s the tape I sent Dick.

11/11/73 (Winterland, SF): “Well I thought that was a pretty clever way you got me to make you these tapes, so that you can make a good comparison. So, tell me what you think after analyzing the two types [sic?].” (4/27/98) 

The interesting part of this conversation is lost. We’d had an argument about this show’s “Dark Star,” which I revered, but which Dick didn’t think was too special. In that exchange, he asserted that “The Other One,” not “Dark Star,” was the acid test across the years. (That’s the quote I wish I had.) I remember sitting in front of my Mac Classic, pondering that very plausible assertion, which was counter-intuitive to me at the time. Eventually, I said that maybe the ambience of my particular, shitty, 11/11 tape, combined with my extensive, happy listening to it, had affected my judgement of the performance itself. So, Dick sent me a dub of the whole show to help me decide. 

Dick Latvala was an immensely loveable and generous person, who curated The Grateful Dead vault thoughtfully and enduringly. I barely knew him. All I have to offer regarding our correspondence, his comments on his mission, and my memories of the time, is in this post. 

I can only add that the overall vibe he consistently communicated was that he felt the way any deep Deadhead would feel, if they were suddenly charged with piloting the curation of The Grateful Dead’s vaults. He took it very seriously, he had some stage fright, he was the kid in the candy shop – tripping – and he loved input. 

Hello, again, Dick, and thanks.

Little Feat: Pre-Columbian Live Vol. 2 (1975 bootleg highlights)

Volume 2 of “Pre-Columbian Live” complements the first volume with a big slice of the best overall 1975-1976 Little Feat concert recording (Halloween ’75), plus an additional LP’s worth of 1975 rarities and bonus items. 

First volume here.

Together, these two collections offer what I think are the most essential 3.5 hours of unreleased 1975-1976 Little Feat, based on the recordings housed on archive.org, all of which are freely downloadable. Each of the five discs of this combined collection conforms to the time-span of a traditional vinyl LP. The mix is a download code for a Record Store Day vinyl box that doesn’t exist yet. 

The full Halloween ’75 show is certainly worth your time (archive.org stream/download). It’s as close as you can get to a single-show “Waiting for Columbus”-style experience with a 1975-1976 show, on your big speakers or best headphones. I trimmed off six songs and smoothed out the gaps resulting from my deletions, made mostly for mix/sonics/tape defect reasons. All the compositions I omitted from this show appear in hotter/higher-fi form on the Volume 1 mix. 

The “bonus disc” contains some wonderful 1975 stuff, plucked from lower-fidelity tapes. A January soundcheck in Amsterdam provides a ghostly “Truck Stop Girl” and two unique, improvised grooves. An October show in Venice, CA included exceptionally rare (recorded) performances of “Roll Um Easy” and “Mercenary Territory.” And finally, a December show in Tulsa, OK offers a “Cold, Cold, Cold > Dixie Chicken > Tripe Face Boogie” medley that’s exciting and longish, with some pleasant audience tape vibes.  (I did some gentle EQ-ing on all these tracks.)

Near as I can tell, after “Truck Stop Girl,” Lowell George intones, “Bigger than life. Protean. And 580,000 units of pectin.” What a fantastic gloss of the song’s tale of gallant integrity and a heart so broken that it makes the protagonist forget that he’s got a truckload of fruit that’s shifting all around, and which will soon kill him.

2-hour mp3 mix zipped up here

LPs 1-2: Halloween ’75, Boston (80 minutes)

  • Intro > Two Trains
  • Fat Man in the Bathtub
  • Walkin’ All Night
  • A Apolitical Blues
  • On the Way Down
  • Day or Night
  • All That You Dream
  • Romance Dance
  • Long Distance Love
  • Cold, Cold, Cold >
  • Dixie Chicken >
  • Tripe Face Boogie > Bag of Reds > Tripe Face Boogie
  • Teenage Nervous Breakdown
  • Sailin’ Shoes
  • Spanish Moon

LP 3: Rare & Bonus ’75 (37 minutes)

Amsterdam Soundcheck (1/30/75)

  • Truck Stop Girl Approximately
  • Groove 2
  • Groove 1

Venice, CA (10/10/75)

  • Mercenary Territory
  • Roll Um Easy

Tulsa, OK (12/4/75)

  • Cold, Cold, Cold >
  • Dixie Chicken >
  • Tripe Face Boogie

You'll find all the Save Your Face Little Feat mixes here.

Little Feat: 1973 Bootleg Box

This virtual Little Feat box consists of two curated mixes and one complete performance. I reviewed every ’73 Feat tape on archive.org, and this is how I decided to compress them for my own perpetual listening pleasure. It includes at least one version of every composition captured on the year’s (available) tapes, except “Oh, Atlanta!” and "Rock & Roll Doctor." None of the options really sold those songs.

The sextet version of Feat debuted in January 1972, but no tapes from the year circulate. That’s a shame, since it would be amazing to track that band finding its groove, adapting early songs to the new player-palette, etc.  In any case, by 1973 they were fantastic, and regular radio broadcasts, augmented by intrepid audience tapers, ensured that many shows would be captured for posterity. 

3-hour mp3 mix zipped up here, comprising the following three discs.

Live ’73: Ultrasonic (4/10/73 complete)

The most famous Feat bootleg is the 1974 Ultrasonic Studios session. This 1973 session at the same location isn’t far behind – a live radio promo for the studio album, “Dixie Chicken, which was released three months before this performance. If you already have this, but you haven't upgraded your file in a few years, this might be a better master. I converted directly from FLAC. 

59 minutes:

  • A  Apolitical Blues
  • Got No Shadow
  • Willin’
  • On Your Way Down
  • Walking All Night
  • Band intro & Lowell George chat
  • Two Trains
  • Fat Man in the Bathtub
  • Sailin’ Shoes
  • Cold, Cold, Cold > 
  • Dixie Chicken > 
  • Tripe Face Boogie
  • Teenage Nervous Breakdown

Live ’73: Oddities

1973 Little Feat set lists contained mostly the same songs, but a healthy number of outliers were captured on tape. Here they are, and they are a hoot. “Spanish Moon > Skin it Back” is on this mix because it needed to be somewhere in this collection, and “Spanish Moon” is actually very rare on the 1973 tapes.

70 minutes:

  • China White (11/2/73 Sugar Hill Studios)
  • Bag of Reds (9/17/73 Atlanta) 
  • Ass for Days (7/21/73 Denver)
  • Chevy 39 (3/20/73 Santa Monica)
  • Airplane (4/1/73 Boston)
  • Eldorado Slim (3/20/73 Santa Monica) 
  • Day at the Dog Races (11/2/73 Houston)
  • High Roller (11/2/73 Houston)
  • Someone’s Leaving Tonight (11/2/73 Sugar Hill Studios)
  • Spanish Moon > Skin It Back (3/20/73 Santa Monica)
  • China White (w/Bonnie Raitt, 4/1/73 Boston) 
  • Ass for Days (4/1/73 Boston)

Live ’73: Oldies

This mix collects performances of songs that appeared on the band’s first two albums, plus “The Fan,” which goes back to 1970. Most of these songs fell out of the band’s repertoire by 1974, with only “A Apolitical Blues,” “Sailin’ Shoes,” “Willin’” and “Teenage Nervous Breakdown” making it to 1975 and beyond, during the George years.

It is fascinating to hear these songs transformed by the sextet’s approach, and I had to fight myself not to include every recording of “Hamburger Midnight.” Even the shittiest bootleg can’t break that song. I decided not to include “Cold, Cold, Cold” and “Tripe Face Boogie” on this mix, because there are lots of great 1973 versions of those, and the Ultrasonic recording of them is plenty good enough for this mix.

49 minutes:

  • Hamburger Midnight (7/21/73 Denver)
  • Snakes on Everything (7/21/73 Denver)
  • Texas Rose Cafe (7/19/73 Denver)
  • Got No Shadow (7/19/73 Denver)
  • A Apolitical Blues (7/19/73 Denver)
  • Cat Fever (7/19/73 Denver)
  • The Fan (7/19/73 Denver)
  • Sailin’ Shoes (w/Bonnie Raitt, 4/1/73 Boston)
  • Willin’ (4/1/73 Boston)
  • Teenage Nervous Breakdown (4/1/73 Boston)
  • Teenage Nervous Breakdown (w/sax 4/15/73 NYC - Max’s Kansas City)

You might look at the above track sources, or listen to this mix, and conclude that the 7/19/73 tape must be a classic. It isn’t for me. Its immaculate crispness works great for these early songs, but when it comes to the thicker grooves/major new tunes of the era, the sound does not gel for me. I do not groove. 

If these mixes please you, you'll probably want to see all our Little Feat posts. 

Miles Davis: “Jack Johnson” LP 2 (1970)

This mix is my best shot at carving out a second LP to augment Miles Davis’ 1970 album, “Jack Johnson.” 

That album contains two very different, 25-minute tracks (“Right Off” and ”Yesternow”), each made up of multiple takes, brilliantly spotted and edited by producer Teo Macero.

The complete sessions for that album run to 368 minutes and cover a bunch of different compositions and jams. You can hear them all on "The Complete Jack Johnson Sessions” (5-discs, 2005, still in print, with a fantastic book of liner notes).

Quite a few outtakes from the sessions ended up sprinkled (whole or partial) across a decade of subsequent Davis releases. That might be why there’s hasn’t been an official, concise “Jack Johnson Sessions” collection. 

This is my version of that collection, almost exactly equal in length to the original “Jack Johnson” album, and an attempt to meaningfully expand and enrich that album, rather than simply providing a grab-bag of cool stuff. 

This material gets more abstract than the chillest moments of “Yesternow,” and extends the fusion-jam-rock attitude of “Right Off” further into blues and funky Herbie Hancock zones – but not too far! I’ve tried to make this a credible, every-minute-counts, jazz-fusion album, avoiding performances you could say are just a riff that is hoping for something great to happen.

I ignored whether or not a recording appeared on a later album somewhere, so several tracks will be familiar to fans of post-1970 Davis releases. I also edited a couple of tracks.

52-minute mp3 mix zipped up here

Side 1:

  • The Mask (part 2) (15:46)
  • Little High People (tk 7, edit) (4:44)
  • Archie Moore (4:45)

Side 2:

  • Selim (tk 4B) (2:14)
  • Little Church (tk 7) (3:16) 
  • Konda (16:28)
  • Ali (tk 3, edit) (4:38)

Once you get used to these "sides," I recommend putting the original album's "Right Off" before both, and "Yesternow" in between them. 

Session and release information on Wikipedia


Little Feat: Pre-Columbian Live (1975-1976 bootleg highlights)

This post offers a double-LP-sized live Little Feat album covering May 1975 to May 1976, drawn from four good soundboard bootlegs. 

Post-1974, George-era Little Feat needs a little more advocacy and canon-building. The final few studio albums with Lowell George were overcooked, and only the fabulous, live “Waiting for Columbus” (1977) plants a decisive post-1974 flag for the era. 

Even the band’s latter-day live archive releases (“Hot Tomatos” and “Ripe Tomatos” [sic]) hardly broach 1975-1976 live material.

So, here’s a concise bootleg-bridge collection to slot between the 1974 Ultrasonic Studios recordings and the 1977 Tower of Power Horns live moment of “Waiting for Columbus.”

Overlapping setlists made it fairly easy to reduce these sources to an album of performances that offer contrasts with the familiar recordings or are simply very exciting. There are several great 2-and-3-song sequences with perfect segues by the band. Compared to the familiar recordings, there are also some notably long versions – a seven-minute “Feats Don’t Fail Me Now,” and an eight-minute “Day or Night.” Lots of charming moments, too. 

100-minute mp3 mix zipped up here

LP 1 (1975):

Atlanta (5/23/75)

  • Oh, Atlanta!
  • On Your Way Down
  • Juliette >
  • Lafayette Railroad >
  • Day Or Night
  • Feats Don’t Fail Me Now

Rochester (10/18/75)

  • Down Below the Borderline
  • Romance Dance
  • Willin’

LP2 (1976):

San Francisco (2/14/76)

  • Skin It Back
  • One Love Stand >
  • Rock & Roll Doctor
  • Cold, Cold, Cold >
  • Dixie Chicken > 
  • Tripe Face Boogie
  • Teenage Nervous Breakdown

London (5/3/76)

  • On Your Way Down
  • All That You Dream 

Artwork: Neon Park, “Jesus and the Three Pigs” (ink, 1976)

No audio edits except proper tracking divisions where the band executed a segue, track start/end-points, and some volume EQ.

This is our second Little Feat proposition. The first one is here.