as of 2/3/03
San Francisco, CA
11/6/69 San Francisco, CA
5/27/72 Amsterdam, Holland
3/21/73 Hamburg, Germany
3/27/73 Nancy, France
6/21/77 Los Angeles, CA
7/7/80 Berlin, Germany
7/29/88 MSG, NYC
3/25/98 London, England
6/12/98 Minneapolis, MN
7/16/98 MSG, NYC
Rock and Roll Hall Induction
6/5/71 Berlin, Germany
3/26/02 Osaka, Japan
2/21/87 Seattle, WA
9/28/87 Bologna, Italy
1/30/88 Scottsdale, AZ
11/23/91 Milan, Italy
10/13/95 Rochester, NY
6/30/97 Toronto, Canada
7/12/02 Mansfield, MA
7/17/02 Toronto, Canada
8/24/02 Denver, CO
10/24/02 MSG, NYC
3/25/79 Fresno, CA
4/24/91 Montreal, Canada
11/16/02 Toronto, Canada
Dates are formatted as mm/dd/yy
“CD” equals one 74-minute CD (in most cases)
1gen=first generation--MC=master clone
DMC=DAT MC--MDMC=minidisc MC--CMC=Cassette MC
for items rated "A+" (included for date/place reference only
and not available for trade), this list consists of amateur recordings made on
whatever equipment was available at the time the performance occurred.
These ratings are subjective, and should only be used as a way of
roughly comparing two similar sources--your mileage may vary.
However, the ratings should be fairly accurate. If you feel I've
made a grave error, please don't hesitate to email
me, as I'm always willing to discuss the relative merits of
a live recording, this
is the pinnacle of studio perfection.
The benchmark, after more than 10 years, is still Pink Floyd's commercial releases of
P.U.L.S.E on CD, cassette, and VHS format (and soon on DVD!) I won't trade these, but if you want a brand new copy of your own,
you can get one commercially.
are the very best recordings of illegitimate origin.
All instruments can be clearly heard, there is an absolute
minimum of distortion, and the recording is free of major
problems. These are
most frequently soundboard tapes, FM broadcasts, etc.
is a thoroughly enjoyable source, but will have a few minor
problems, such as slightly intrusive audience noise.
This is still a recording you could play for someone
inexperienced in listening to recordings of illegitimate origin
perfect, but very close. These are often audience DAT
very good source, but with a few more problems. These may include a narrower dynamic range, more intrusive
audience noise, minor tape faults and microphone movements, etc.
This is clearly not commercial material, but also clearly a
sources could possibly have some major faults. Problems may include cut tracks, more severe tape
distortion, excessive LP surface or audience noise, and other
issues. The typical vintage audience ROIO sound. Still listenable, but will take a bit of imagination.
problems, but still a listenable recording for the properly
motivated. Probably to be avoided if it would be one of your first
acquisitions representing the group. Those inexperienced listening
to ROIOs might not be able to tolerate one of these for very long.
occurrences of many of the problems detailed above. Even
patient listeners may soon protest. Really
only for the more hardcore collector, or for those with a personal
interest in the date and place. Anything below this rating fits that description also.
the not only hardcore, but also masochistic collector. Sounds like a tape made wrapped up in a winter coat under
the seats in the back row. The protests of less patient
listeners could become violent. Some sensitive individuals
could consider these recordings to be an
instrument of torture.
played too loudly, the terribly bad quality of these sources could provoke a neighbor to call in
a complaint to the local authorities. We now begin wondering why this recording even
on (or in fact) unlistenable. For the most severely crazed
Always error-free sources
Always secure mode EAC
Always use quality media
Always burn in DAO
No MP3 sources
No writing on discs
No cases - use sleeves
Send in a bubble envelope
More details here
Stevie Ray Vaughan
Other Artists A - E
Other Artists F - M
Other Artists N - R
Other Artists S - Z