This file must accompany this package to preserve the complete incommensurable informations !

- January 22, 1969 -
Grosser Saal, Konzerthaus, Vienna, Austria
** audience 1st gen, MWM 0155 **
>> ! RAW and EDITED files ! - supporting JIMI HENDRIX EXPERIENCE -

Preliminary remark 1:


BIG BIG THANKS to the one and only fellow DIME member olvator
for this fantastic disinterment of taper Harald and his recording:

Torrent #294346
1969-01-19 1st show 2nd gen

In his torrent description Olve wrote:

"Also noteworths is that this might (to the best of my knowledge)
include the only known recording of a full EIRE APPARENT set."

That's not competely true ;-)

Cannot believe that this beauty here is almost unknown, but
checking the DIME bot, it seems that it was NEVER on DIME...

The Jimi Hendrix recording of the same taper was in heavy circulation,
in the usual tape trader circles during the 70ies and 80ies, and later
on a big variety of bootlegs, mastered, remastered, noise-damped, etc.pp.,
and countless times on is the last upload, so far:

Checking the internet, i found just ONE copy, shown with indefinite gen.:
Eire Apparent: 69.01.22. Stimmen der Welt, Konzerthaus, Wien, AUSTRIA (AU) : 45 min: vg

With this torrent here you'll get the ultimate upload/upgrade.
There's a damn lot to read about the taper, the venue and the concert...

THIS ONE IS DEDICATED TO THE VIENNA MASTERTAPER "RG"...another one that passed away too soon...

Preliminary remark 2:

In olvator's upload (see -> Preliminary remark 1), our
dear DIME member "tranehead" thanked for the sharing
and asked the following (unanswered by me - until now...)
question with his comment #3866154 (at 2010-03-14 17:26:01 GMT):

"ps. was herald a part of MWM?? ("men with mics">??)
in other words, did he record many other shows as well??"

My answer to the first part of the question is "DEFINITELY NO !"

And olvator wrote in his upload (and this is the answer, part two...):

"Not at all in a tape trading community, Harald almost forgot about his tape..."

Preliminary remark 3:

As far as I know NONE of this recording was ever used commercially ;-)

This upload here comes directly from the "Men With Microphones" archives.
"MWM" started in the 70ies in South Germany with analog recording equipment,
and at least two of them are still recording sometimes (since the 90ies on DAT,
and, lazy as we are, since lately with small, handheld WAV-recorders on SD-cards).
The "MWM" startet as a project of friends sharing their hobbies together. But by
reason of jobs, partners and other interests the circle of all involved shrinked.

Parental Advisory:

This is a shorter description. Shorter than in my usual uploads.

I, simply said, was tired of typing...


And again, another (DAMN!) preliminary remark:

Thoughts of an old taper-junkie, growing up with analog recording gear,
and remembering all those snail mail trades from overseas - we waited days,
or even weeks for - not talking about the postage, customs, etc.pp.:

Some tapes you listened just once, and they ended in a box, deep in a cellar,
vault, garage, archive...forgotten for decades, centuries...forever & in eternity...

And there are tapes that you'll never forget...never in your whole life...
and to be true, they ended TOO in a box, deep in a cellar, vault, garage,
archive...and during the decades and centuries the memories start fading...
but you still never forget them...NEVER EVER...

Because they are SO SPECIAL...

And you need just a single spark, in this case olvator's note, and the fire
of remembrance starts burning, ending sometimes in an extensive blaze...

And my "extensive blaze" ended this time here in THIS upload.

Wish that more of those damn old tapers gets the spark...

Maybe this damn torrent here is some kind of an ignition amplifier !

Go - straightaway - to your cellar, vault, garage, or archive
and dig out your nuggets...and if you don't have a single one,
ask your friends or neighbors for rare old concert recordings !

Do, whatever you like, BUT SHARE place is HERE...DIME !!

If you have no upload-skills, or if you're afraid and timid, ask a friend,
one of those friendly uploaders here, or at least me, one of my friends...




And there are definitely NO pockets in your last shirt !



Your heirs just want your money or your cash value (house, car, boat, whatever..)!

ALL your "dearer than life itself"-tapes, no matter whether they are in your
living room shrine or in countless shoe boxes, deep in a cellar, vault, garage,
archive...your heirs throw them out as garbage and so they end in a waste disposal...



Forever & in eternity...



And please behave yourself!
Handle here in a polite manner, and write friendly comments...
This is a team sport!
If you have comments, can add information, or add constructive criticism, please do!

...and here i'll second dear fellow DIMEr Geetarz (THANKS, my friend...) completely !

As a longtime collector, I am in the process of securely extracting, archiving,
and backing up my collection. The newer "downloader dweebies" assume everything
is a reseed, this is not the case with this upload. This one here is an extraction
of material from my collection, and nothing else. The information presented with all
my uploads represents the information I received with trades, or over a really long
time through research or communication with other fans.
Again, if you have something constructive to correct or add, please do !

The way I tag my files, is how they are going to be tagged.
If you wish to change the tags to reflect your own filing system, feel free.
But please do not re-seed them "your" way...i prefer to reseed my own uploads
in the original outfit i once uploaded them before...with all them verbose text...

If I didn't include artwork, and you have some to contribute, please do!
If there is no artwork, and you would like to make some, please do!
If there is no artwork, and you don't have any, and you don't want to make any,
please don't comment or PM me asking me to create artwork...

Back in the trading days, one picked a show from a list of dates and venues, usually
with no indication of quality or lineage. If you choose not to download, that is YOUR
loss, not ours. If that isn't good enough for you, then feel free to arrange a trade,
burn copies, package them, wait in line at the Post Office, and then wait weeks to
see what you receive in return.


Please check my lineage. I have no crappy gear in the studio. All my machines are in
the best possible condition, and i prefer regular maintenance. If i do a mastering,
a sound correction, remastering,'s will be a long process of hard work.
I usually listen those uploads for hours and hours, to get the possibly best result.
And i listen to them, usually complete, in the studio with my Quadral speakers,
expensive headphones, or at least with those space-filling Klipsch horns at home...
So it's definitely NOT necessary to tell me about my "shitty uploads", judging just
by and with your cheap onboard soundcards and tiny computer
them an ear for just one or two songs, if at all !


Please do not upload my torrents to your BLOGS, lossy or lossless...

The music here belongs to the musicians, bands and artists !
Please donate THEM, buy their CD's and merchandise,
visit all their concerts (if possible...) !


WHY this one here is a FUNNY upload:

1. It's from the box of tapes with "funny or strange stage announcements"

2. It's ancient concert history. You'll learn a lot about early concerts in Europe...

3. It's a band nearly nobody knows (nowadays...hehehe...)

To prove my first two statements, there is a lot more to read, in what follows...

The third one is seemingly ABSOLUTE true, just found this one on the net:

EIRE APPARENT - Sunrise (Rare original 1969 US Buddah label 10-track vinyl LP
featuring a pre-10cc Eric Stewart, produced by Jimi Hendrix [who also contributed
some amazing guitar work to the album] with 'help and encouragement' from Noel Redding...

HAHAHA !! Was rolling on my floor, reading this for the first time:

"...a pre-10cc Eric Stewart..."

You didn't get the joke ? So please continue here...

About the band:

Eire Apparent were a band that deserved more success than they enjoyed in their brief
three-year existence, and more recognition than they've received in the decades since.
Mostly they're remembered for having had one album produced by Jimi Hendrix.
The band had its roots in the Irish show band scene of the mid-'60s - guitarist Henry
McCullough had put his time in, playing with outfits such as the Sky Rockets and
Gene & the Gents, based on Portstewart, Northern Ireland. By 1967, McCullough had decided
to take his talent and career elsewhere and headed to Belfast and then to England, to
Blackpool, where he crossed paths with Chris Stewart (bass), Ernie Graham (guitar/vocals),
and Dave Lutton (drums). The latter were all ex-members of a show band called Tony & the
Telstars, and with McCullough decided to form a psychedelic band that they christened
the People. They made their way to London, where they struggled just to earn a decent
living - but a fortuitous gig at the UFO Club brought them to the attention of Mike Jeffery
and Chas Chandler, the two managers of Jimi Hendrix. They got the band - renamed Eire Apparent
at Jeffery's insistence - signed to Track Records, the imprint belonging to Kit Lambert and
Chris Stamp (for which Hendrix also recorded), who were also the managers of the Who.

For musicians who had been living in dire poverty when they arrived in London, the whirlwind
of VIP representation they'd stepped into and the opportunities suddenly presenting themselves
were astonishing. And it only got better when Eire Apparent were booked onto Hendrix's next
tour of the British isles, working alongside acts such as the Move and such up-and-coming bands
as Pink Floyd and the Nice. The finish to 1967 was capped by the recording of their first single,
"Follow Me" b/w "Here I Go Again," which was issued in January of 1968. The record never charted,
however, and marked their last release on Track. Next it was off to America, supporting Hendrix,
Eric Burdon & the Animals, and Soft Machine (both acts managed by Jeffery). They spent a large
part of 1968 playing shows in the United States, and had one show scheduled in Canada. At that
point, the group's fortunes suffered a setback when McCullough was arrested, in part due to
problems with his visa, and deported to Ireland. It marked his exit from the band, as he was
summarily replaced by Mick Cox, who completed the tour w/ the group and became a permanent member.

The following month, the reconfigured Eire Apparent resumed their run at stardom with an album.
What made the record special, beyond what the four members brought to the table, was the presence
of Jimi Hendrix as producer. Hendrix had previously served in a similar capacity on behalf of
Cat Mother & the All Night Newsboys, but Eire Apparent attracted somewhat more attention, owing
to the fact that their album received an American release through the Buddah label, which also
issued their second single, "Rock 'n' Roll Band" b/w "Yes I Need Someone." Hendrix also played
on both sides of the single, as well as on the Chris Stewart-authored album track "The Clown,"
but his involvement with their music was more complex than even these moments of direct
participation. The guitarist apparently saw Eire Apparent as a vehicle for more pop-oriented
sounds than he usually got to explore on his own recordings, freely mixing softer sounds with
a strong psychedelic influence amid the harder sound that was the group's forte. The harder
sounds of songs such as "Morning Glory" were juxtaposed with more lyrical moments, vocally and
instrumentally, without ever losing sight of their basic heavy electric sound.

The results - to which Robert Wyatt and Noel Redding also apparently contributed - were off-putting
to some who expected something different from a project related to Jimi Hendrix, and also may have
arrived a little late for the psychedelic influences. The album, entitled Sunrise, was issued on the
Buddah label in the United States, and thanks to Hendrix's name on it and the time they put in touring,
it did sell better than some Buddah releases of the era that didn't have a hit single to drive sales
or get AM radio play. Copies of the record turned up in collections and used bins from time to time
from the 1970s through the 1990s (and, indeed, still sometimes show up), which is more than can be
said for some Buddah LPs of the era. But sales were nowhere near what was needed to break the group
properly in the U.S. (and thanks to the U.S.-only release, Sunrise became a true rarity in England).
Additionally, Eire Apparent had run into serious trouble on two fronts. Their extended time touring
America had left them without an audience in England, and the gigs there dried up when the bandmembers
were left to their own devices (and not touring with Hendrix). Additionally, they parted company with
Jeffery after a tour of Europe opening for Hendrix. Without him, Burdon, or Soft Machine to headline,
however, and without a hit record, their prospects in America were now dimmed considerably.
Cox left the band in early 1969 and was succeeded by Tiger Taylor, who filled the lead guitar spot
for their final year together.
The band finally broke up at the start of 1970 and was almost instantly forgotten.

In later years, Eire Apparent were mostly remembered as a footnote to Hendrix's career, though the
members remained active throughout the ensuing decade and beyond. Ernie Graham helped to found the
pub rock band Clancy, after cutting a genuinely brilliant solo album - indeed, one of the great
albums (and perhaps the greatest unknown album) of the 1970s, backed by Brinsley Schwarz.
Mick Cox organized a band of his own and worked with Van Morrison, among others, while Dave Lutton
passed through the lineup of Heavy Jelly, before crossing paths professionally with Marc Bolan
and Chris Spedding. Chris Stewart went on to become a top session man, while Henry McCullough,
following his sudden exit from the band, jumped to Spooky Tooth and then the Grease Band.
He backed Joe Cocker on the With a Little Help From My Friends album, and did a lot of session
work (including Donovan's Essence to Essence). He was also a member of Paul McCartney's Wings in
one of its early configurations, on the Red Rose Speedway album.
-Bruce Eder, All Music Guide

Eire Apparent

Ernie Graham - vocals, rhythm guitar
Henry McCullough - lead guitar
Chris Stewart - bass
Dave Lutton - drums
Mick Cox - lead guitar
Tiger Taylor - lead guitar
Peter Tolson - guitar, vocals

Eire Apparent was formed as psychedelic outfit 'The People' in Early 1967, in Blackpool, Lancashire,
England by Ernie Graham on vocals & rhythm guitar (born Ernest Harold Graham, 1.4.1946, in Belfast,
Antrim, Northern Ireland died 29.4.2001); Chris Stewart on bass (born Eric Christopher Stewart) and
Davy Lutton on drums (born William David Lutton), who were joined by Henry McCullough on lead guitar
(born Henry Campbell Liken McCullough, 21.7.1943, in Portstewart, Co Antrim, Northern Ireland)
(ex The Sky Rockets Showband, Gene and the Gents, 1964 - 1966), who had first moved from Portstewart
to Belfast and then moved to Blackpool where he crossed paths with Graham, Stewart and Lutton.

'The People' grew out of Belfast band 'Tony and the Telstars' (formed in 1960), whose line-up was
Graham on rhythm guitar (an apprentice auto mechanic during the day); Lutton on drums; Eric Wrixon
on organ (born 29.6.1947, in Belfast, Antrim, Northern Ireland) (ex Them, Apr - Jun 1964, later in
Thin Lizzy, Late Dec 1969 - Aug 1970); Mike Niblett on bass and George O'Hara on lead vocals, guitar.

Lead guitarist Rod Demick (born Roderick Demick, in 1947, in Prestatyn, Flintshire, North Wales), who
moved to Belfast at 5 was an original member of 'Tony and the Telstars'. Demick had formed a skiffle
group 'The Vibros' in 1958, which changed it's name to 'Tony and the Telstars' in 1960. Demick left
the band in Late 1965 and joined 'The Wheels' (Late 1965 - 1967).

As for Graham; Lutton; Niblett and O'Hara they became the first line-up of 'The People' in Late 1965,
and who at some point went over to England. The band recorded two songs with O'Hara on lead vocals
'I'm With You' and 'Well...All Right' for the 1966 Ember Records compilation LP 'Irelands Greatest
Sounds: Five Top Groups From Belfast's Martime Club.'

The next line-up of 'The People' was Ernie Graham on vocals, rhythm Guitar; Chris Stewart on bass
and Davy Lutton on drums, who were joined by Henry McCullough on lead guitar formed in Earl 1967 in
Blackpool, Lancashire. The band then moved to London and by the early summer the group had gone back
to Ireland - to Dublin this time, where the local scene had eventually taken off. Such was the
difference in their music that within 3 months they were voted top local band. The scene was still
small though and by spring of 1967 it was time to move again. This time they went straight to London
(Sept? 1967) - and starved again, living in a van parked in Camden Town, North West London. The band's
fortunes changed in the early summer when they ran into their ex manager Dave Robinson (born in 1942,
in Dublin, Co Dublin), who promised to get them a couple of gigs. These were the Speakesy Club and
more importantly the UFO Club, the same night as 'Procol Harum', coming on after them.

They soon had about six of the top British managers knocking at their dressing room door say not to sign
to anyone until you have spoken to them. In the end they were signed up within 24 hours by Mike Jeffery,
who along with Chas Chandler (born Bryan James Chandler, 18.12.1938, in Heaton, Newcastle-upon-Tyne,
Northumbria (now Northumbrland) died 17.7.1996) (ex Animals bass player) were the managers of Jimi
Hendrix and 'The Soft Machine'. The band then changed their name again - Jeffrey wanted to exploit
their Irish dimension and his wife came up with the new name - 'Eire Apparent'.

In short order the band were doing prestigious supports at the Saville Theatre in London and Olympia
in Paris and on Tues 14.11.1967 they joined what amounted to be the last great UK package tour with
'The Move', 'The Pink Floyd', 'The Nice', 'Amen Corner', 'The Outer Limits' and of course Hendrix
himself. This was The Jimi Hendrix Tour, their second proper UK tour.

Tues 14.11.1967 - The Alchemical Wedding, Royal Albert Hall, Kensington, West London
Wed 15.11.1967- The Winter Gardens, Bournemouth, Dorset
Fri 17.11.1967 - The City Hall, Sheffield, Yorkshire
Sat 18.11.1967 - The Empire Theatre, Liverpool, Lancashire
Sun 19.11.1967 - Coventry Theatre, Coventry, Warwickshire
Wed 22.11.1967 - Guildhall, Portsmouth, Hampshire
Thu 23.11.1967 - The Sophia Gardens Pavilion, Cardiff, Glamorgan, South Wales
Fri 24.11.1967 - Colston Hall, Bristol, Somerset
Sat 25.11.1967 - The Opera House, Blackpool, Lancashire
Sun 26.11.1967 - The Palace Theatre, Manchester, Lancashire
Mon 27.11.1967 - The Festival '67, The Whitla Hall, Queens College, Belfast, Co Antrim, Northern Ireland
Tues 28.11.1967 - The Hendrix tour flew from Belfast to Gatwick.
Fri 1.12.1967 - The Central Hall, Chatham, Kent
Sat 2.12.1967 - The Dome Brighton, Sussex
Sun 3.12.1967 - The Theatre Royal, Nottingham, Nottinghamshire
Mon 4.12.1967 - The City Hall, Newcastle-upon-Tyne, Northumbria (now Northumberland)
Tues 5.12.1967 - Green's Playhouse, Glasgow, Strathclyde, Scotland
(final date of The Hendrix second proper UK Tour).

Things started to look really good for Eire Apparent and at the end of the tour the band went into the
studio and cut their debut single for Track Records, 'Follow Me' / 'Here I Go Again' (Truck 604 019,
Jan 1968). This was a non-hit, but 1968 proved to be their most successful year. At the beginning of
February they flew to the States, basically as support to either Hendrix or Eric Burdon and the Animals.
Their first gig was on Frid 9.2.1968, at The Anaheim Convention Centre, Anaheim, California, with both
acts and The Soft Machine. Subsequently they toured with The Animals up until the end of May. Although
technically the support, they built up a solid following playing to huge audiences and making a
substantial amount of money.

They returned to Europe - briefly - to play at the riot torn Beat Monster Festival, in Zurich (Thursday,
30.5.1968) before heading back to the States and eventually joining up with Hendrix at the Atlanta Municipal
Auditorium on the 17th of Aug 1968, and playing with him and The Soft Machine. They went onto play on most
of his subsequent gigs until late Sep 1968 (not middle of Oct as stated in the Eire Apparent CD). Other
gigs were on Sun 18.8.1968, at Curtis Hixton Hall, Tampa, Florida; on Tues 20.8.1968, at The Mosque,
Richmond, Virginia; on Wed 21.8.1968, at The Civic Dome, Virginia Beach, California (these all with
The Soft Machine); Sat 24.8.1968, at The Bushnell Memorial, Hartford, Connecticut; on Mon 26.8.1968,
at Kennedy Stadium, Bridgeport, Connecticut (with The Soft Machine); on Sun 1.9.1968, at The Red Rocks
Park, Denver, Colorado (with The Soft Machine, plus Vanilla Fudge). The next day Hendrix and his band
The Experience, plus Eire Apparent toured the mountains around Denver. More Hendrix / Eire Apparent /
Vanilla Fudge / The Soft Machine gigs were on
Tues 3.9.1968 at The Balboa Stadium, San Diego, California; on Wed 4.9.1968, at The Memorial Coliseum,
Phoenix, Arizona; on Frid 6.9.1968, at The Coliseum, Seattle, Washington.

Then something bad happened to the band, unfortunately at their next gig at The Pacific Coliseum,
Vancouver, Canada on Sat 7th Sept 1968, Henry McCullough was busted and basically had to leave the
country to avoid doing time, but the others wanted to stay on, so effectively he had to quit the band.
McCullough found his feet quick enough, joining up with Sweeney's Men, Joe Cocker and the Grease Band,
Oct 1968 - Feb 1970, The Grease Band, Jun 1970 - Dec 1971, Paul McCartney's Wings, Jan 1972 - Jul 1973,
The Joe Cocker Band, Jul - Aug 1974 and Frankie Miller.

His replacement in Eire Apparent was taken by Mick Cox on Lead Guitar (born Michael Charles Box)
(ex The End, Alleykatz), who was flown out from England immediately. Other gigs Eire Apparent did on
the Hendrix were on Sun 8.9.1968, at The Coliseum, Spokane, Washington; on Frid 13.8.1968, at Oakland
Coliseum, Oakland, California (both gigs with Vanilla Fudge, The Soft Machine); Sun. 15.9.1968, at
The Memorial Auditorium, Sacramento, California (with Vanilla Fudge). This it the last gig I can find
that Eire Apparent played on the Hendrix US tour.

At the end of Oct 1968 Eire Apparent recorded the bulk of their debut album at TTG in Los Angeles,
California. On Wed 30.10.1968, at Sunset-Highland Studios, Los Angeles, California, the band recorded
'Let Me Stay' (M Cox), 'Magic Carpet' (E Graham), 'Morning Glory' (M Cox), 'Mr Guy Fawkes' (M Cox) and
'Yes I Need Someone' (C Stewart / E Graham / M Cox / D Lutton), while 'Captive In The Sun' (M Cox), and
'The Clown' (C Stewart) (Hendrix added extra magic to this track) which were recorded on Wed 30.10.1968,
also at Sunset-Highland Studios, plus 'Rock 'N' Roll Band' (Taylor / Graham) recorded on 5.1.1969, at
Polydor Studios, London, all with Jimi Hendrix on guitar. This last session was produced by Carlos Olms.
In fact he appeared on all the tracks ('Someone Is Sure To (Want You)' (E Graham), except for 'Got To
Get Away' (E Graham) and '1026' (E Graham / C Stewart) (produced by Jack Hunt). Hendrix also produced
the group's solo album, called Sun Rise (Sunrise) (Buddah 203 021, 1969), which was a crafted blend of
pop and neo-psychedelia. Hendrix had produced and played on their album as a consequence of Eire Apparent
touring with him in the States.

Eire Apparent's association with Hendrix, Jeffrey and Chandler was starting to draw to an end. Basically
the band felt they could no longer rely on Jeffrey to find them gigs in the States. Their final involvement
was as support on part of the Experience's European in Germany in Jan 1969. The gigs were on Sat 1.11.1969,
at The Musikhalle, Hamburg, Germany; on Sun 12.1.1969, at The Rheinhalle, Dusseldorf; on Tue 14.1.1969,
at The Halle Munsterland, Munster, Germany; on Wed 15.1.1969, at The Deutsches Museum, Munich, Germany;
on Thur 16.1.1969, at The Meistersinghalle, Nuremburg, Germany; on Frid 17.1.1969, at The Jahrunderhalle,
Frankfurt, Germany; on Sun 19.1.1969, at The Liederhalle, Stuttgart, Germany; on 20.1.1969; on Tuesday,
21.1.1969, at The Wacken Halle, Strasbourg, France; on Wed 22.1.1969, at The Konzerthaus, Vienna, Austria;
on Thur 23.1.1969, at The Sportpalast, Berlin, Germany.

Mick Cox was replaced by Tiger Taylor on lead guitar in Jan 1969. Most of '69 was spent slogging round
the English clubs and universities, trying to re-establish themselves in a country that had largely
forgotten them. It was to prove an uphill task. On 20.4.1969 the band recorded three tracks for a
Top Gear session, 'Yes I Need Someone,' 'Highway 61' and 'Gloria.' Peter Tolson guitar / vocals (born
10.9.1951, in Bishops Stortford, Hertfordshire) was a short time member just before they called it a
day in May 1970, finally having given up.

Eire Apparent also released another single Rock 'N' Roll Band' / 'Yes I Need Someone' (Buddah 201 039,
1969). Some of their 1969 gigs were on 30.11.1969, at Cloud Nine in Peterborough, Cambridgeshire, England.
Singer Graham later joined, Clancy, Help Yourself, Aug - Nov 1971, and then recorded a solo album backed
by Brinsley Schwatz. Drummer Lutton was later in T-Rex, Jan - Dec 1974, Jan 1975 - Aug 1976, Nov 1976 -
Sep 1977 and Stewart was later in Poco, while Tilson went to The Pretty Things, Nov 1971 - Jun 1976,
and Metropolis, Jun 1976 - Dec 1977.

About the venue:

In the folder is a picture added. Konzerthaus in Vienna was predominantly built for classic music:

The Konzerthaus in Vienna (in German language: Wiener Konzerthaus) was opened 1913. It is situated in
the third district just at the edge of the first district in Vienna. Since it was founded it has always
tried to emphasise both tradition and innovative musical styles.

In 1890 the first ideas for a Haus für Musikfeste came about. The idea of the new multi purpose building
was to be more interesting to the broader public than the traditional Wiener Musikverein. In addition to
the concert hall, the first drawings by Ludwig Baumann for the Olympion included an ice-skating area and
a bicycle club. In an attached open air area 40,000 visitors would be able to attend events.
The drawings were not accepted. However, today an ice skating area is situated right next to the building.

The Konzerthaus was finally built between 1911 and 1913. The architects were Ferdinand Fellner and
Hermann Helmer (Büro Fellner & Helmer); the work was done in cooperation with Ludwig Baumann.

Performance facilities:
The building is about 70x40 meters and had originally three halls, in which there can be simultaneous
concerts, since they are sound-proofed. The original art nouveau building was partly destroyed during
renovations and adaptions, but the building was reconstructed from original sketches in the 1970s.
A historic organ was installed in the Konzerthaus by the Austrian firm Rieger in 1913. Between 1997
and 2000 the house was completely renovated.

Großer Saal, with 1,840 seats.
Mozartsaal, with 704 seats.
Schubertsaal, with 336 seats.
Berio Saal was added during the latest renovations and seats up to 400 people.

Program :
The Konzerthaus has the Vienna Symphony Orchestra, the Wiener Kammerorchester, the Wiener Singakademie
and the Klangforum Wien in residence. Several subscriptions also include concerts by the Vienna Philhar-
monic Orchestra and other organizations.

The Wiener Konzerthausgesellschaft also conducts several Festivals during the year.

Early Music Festival Resonanzen in January.
the Spring Festival Wiener Frühlingsfestival.
the Internationale Musikfest in May and June.
Wien Modern in the Fall.,_Vienna

Konzerthaus in Vienna was one of the best, if not to say, THE BEST venue for concerts in Europe.

Improve your German:

Fünfzig Jahre Musikgeschäft: Wie haben Sie diese fünfzig Jahre erlebt? Was hat sich verändert?

Ganz einfach: die Quantität. Früher war das Konzerthaus in Wien das Non plus ultra.
Da war ich mit Jimi Hendrix drin, mit Frank Zappa, mit Ella Fitzgerald, Duke Ellington.

Jetzt ist die Wiener Stadthalle alltäglich, und wir gehen sogar open air.
In den vergangenen 50 Jahren hat sich die Lust der Menschen, Livemusik und Qualität
zu erleben, gesteigert. Das hat sich vertausendfacht, verzehntausendfacht, und ich
bin froh, dass ich da ein wenig mithelfen konnte. Vor 50 Jahren war unser Geschäft
ein Handwerk, heute ist es eine Industrie. Wir müssen verdammt aufpassen, dass die
Qualität erhalten bleibt.
Mit „Deutschland sucht den Superstar“ kommt man nicht weiter.

Fritz Rau - Interview: Ernst Grabovszki

Fritz Rau (born March 9, 1930 in Pforzheim, Germany):
The German (and European) concert scene is largely associated with his name.
The concert organizers Lippmann & Rau, succeeded in getting many of the United
States' (and also Great Britain's...later the world's) largest acts to play in
Europe, especially Germany, for the first time - from the Doors to Bob Dylan,
Janis Joplin, Jimi Hendrix and Frank Zappa...

In over 50 years as concert promoter he organized over 6.000 concerts !!

And going back in my own history with a fading memory,
i feel that i've been at one sixth of them, minimum...

About the taper:

Cannot remember (yes, i'm getting old...) the exact year trading this beauty.
Having it twice, i dug out the newer, the better one...the one with definitely
known generation. And judging the brand, BASF CR-S II - chromdioxid super II,
it must have been very early 1980ies.

Working in those taper circles in the 70/80ies, you always had a friend, knowing
another friend...guess what i mean...was introduced to "RG" by a friend. Had heard
his name years before, as he was a true legend, at least for us European tapers.
There are just ONE handfull, maybe friend and guru "NM" (check his Beck,
Bogert & Appice in Nuremberg 1973, together with support act "Tucky Buzzard"...),
the incredible "HB" Heribert Bahro, Berlin's "HE" and a few more...

THE Vienna taper, back then...

"RG", in real life Roland Grundmann, passed away in November 1998,
just 48 years old, from the consequences of a severe diabetes...

Roland was, especially known by all Hendrix collectors, famous e.g. for
his recordings of "Monsterconcert" Zürich 1968 and "his" Vienna tape 1969.
He had seen (and recorded...) Jimi quite often, he even traveled to
Jimi's Isle Of Wight-gig...

Over the years he taught his skills to taper-newbies, and created,
together with some friends and travel partners (forgot the name of
his close "Super 8" - concert filming buddy...), the "New Advanced
Vienna Taper Section"...a great group of nice and truly friendy maniacs...

I always loved those Vienna people (in general all the fine people from Austria...),
having and using myself this damn funny broad dialect from the northern Bavarian
region called Franconia, which is related quite closely to the Austrian one,
especially to this damn funny "Wiener Schmäh"...
Franconians and "Wiener" share the same type of wicked humor, we both love
large graveyards (Es lebe der Zentralfriedhof...) and Josephine Mutzenbacher
stories...We have our fantastic Franconian beer, they their "Heurigen" in
these Eastern-Austrian wine-taverns...

Nuff said...met Roland once, at a record fair in 1980 or '81, as he was a
manic record collector too. We traded concerts, he introduced us "MWM's"
to his taper friends...and both, Deutsche Bundespost and Österreichische
Post AG became prosperous with all our postage paid...not to forget the customs...

About the concert:

There is a lot written about Robert's Jimi Hendrix recording from Konzerthaus 1969.

From Chris Dixon's 30th Anniversary Series:
January 22, 1999 marks 30 years since the two Experience shows at the 'Stimmen der Welt'
show at the Konzerthaus in Vienna, Austria. This is the last tape we have of two shows
in one night until the BOG shows, and after the grueling pace of this European tour, they
can hardly be blamed for stopping the practice (only one such night appears in the record
of the Experience's last US tour, that being Memphis 4/18 w/ one show on tape).
Anyway, this night finds the band very 'on', IMO, and they stay that way through both shows.
The mix on this tape is really pretty good at the core, though it is blurred by the hall
acoustics. Sounds like the taper was well off axis of Jimi's amps (guitar almost too low
at times!) and near one of the PA speakers so the vocals are reasonably clear.
Even Noel's vocals are audible for once!
- C. S. Dixon

Im Jahr 1969 besuchte Hansi Lang ein Konzert von Jimi Hendrix.
Zuvor hatte er nur eine weltberühmte Live-Band gesehen:
Nämlich die Walker Brothers mitten am Nachmittag in der
Wiener Stadthalle – ein recht harmloses Ereignis ohne
sozialisatorische Sprengkraft.

Doch Hendrix im Wiener Konzerthaus, noch dazu um zehn Uhr
abends, das war eine andere Liga. In jederlei Hinsicht.
Der damals 14-Jährige bekam von der musikalischen Darbietung
kaum etwas mit. Zum einen, weil der Rock ’n’ Roll-Star rund
eineinhalb Jahre vor seinem Tod schon so exzessiv lebte, dass
er auf der Bühne keinen geraden Satz herausbrachte.

Zum anderen, weil die Tontechnik Ende der 1960er noch in
den Kinderschuhen steckte und die enorme Lautstärke nur
ein undefinierbares Soundgemisch zuließ.

Doch solche Nebensächlichkeiten zählten damals, im Jänner
1969, nicht. Hansi Lang hatte das erste Mal die legendären
Auswüchse der Popkultur inhaliert – ein folgenreiches Erlebnis.

Das Konzert – übrigens Hendrix’ zweites an diesem Abend, da
die erste Vorstellung um acht Uhr innerhalb kürzester Zeit
restlos ausverkauft war – fand an einem Mittwoch statt.

Donnerstags musste Hansi Lang immer erst um zehn Uhr in
der Schule sein. Als er, noch immer paralysiert von den
Erlebnissen des Vorabends, Richtung Bildungsstätte trottete,
übermannte ihn ein epochales Gefühl: »Wie ich um die Ecke
gebogen bin und meine Freunde gesehen habe, wusste ich auf
einmal, dass sich von Mittwoch auf Donnerstag mein ganzes
Leben verändert hat.«

Das Sommersemester 1969 markierte prompt das Ende von
Hans’ wenig erbaulicher Schulzeit.

The motto of this specific night was: 'Stimmen Der Welt',
... Music of the Spheres ... Voices of the World ...

Eire Apparent supported both of Jimi's concerts, but this
recording here is the only one that there
had been some troubles with the tape and the recorder...

Funny that those problems just happened with the support act,
the Hendrix tapes came out quite good...not talking about the
few small cuts...and the C-90 tape running out in the middle
of the second, the late show...
And Jimi's concerts were LOUDER than Eire Apparent's - and they
had been, according not just to Roland, F***ING EXTREMELY LOUD...

The next day, thursday morning, a true stampede for otologists
happened in the beautiful city of Vienna, some got a lifelong
tinitus, and there had been rumors about some moderately severe
hearing loss...and it's been reported, that a coupe disgustingly
rich Vienna acoustic instrument stores annually send a few bouquets
of flowers to Jimi's grave - even today, 41 years after the shows...

About the recording:

Please do not forget that this is a 40+ year old recording, and
as we all had not that much money in the 60ies to buy Sennheiser,
Neumann or Schoeps microphones...not to speak about the "as big
as a wardrobe"-recorder- and cassette-mechanisms, or those six,
eight or ten damn big D-sized (NOT speaking about bra sizes...)
electrochemical cells - used to convert stored chemical energy
into electrical energy - needed, for maximum 60 or 90 minute
single recording time, way back then !

This all resulted in a usually recorded frequency range between
200 to 8.000 Hertz, plusminus, at best...mostly mono, really
good stereo microphones had been in the early stages of development.

Call those tapers pioneers of concert recording, the acoustic
world Lewis-and-Clarke-expedition to new unknown territories...

And if you listen closer, there are some extreme volume fluctuations
(Harald used this tape mainly to adjust it for the Hendrix set...)
and tape cuts, so there is definitely some music etc.pp. lost.
The real kicker is an increasing tape speed problem as main result
of weakening batteries AND master cassette problems, not to forget
some severe wow and flutter - causing fine Mickey Mouse voices...

But i did the best i could to get out a maximum result, and you'll
get three folder with the RAW recording, the EDITed one, and finally
a fully EDITed and time adjusted version...



According to the taper, other concert visitors, the press, and all those comments on
the recordings, the venue was heavily overcrowded - fully seated, and a lot of the
audience left their seats and filled the place in front of the stage and the central
corridor. There was a bunch of Vienna policemen in the room...early security guards.

The rest is clearly audible on this tape here - a fine band at their peak - supporting
their "soon-to-be-in-the-stores" brandnew album, and the single, "to be released by
Polydor Austria" in about two weeks in Vienna (listen to track #07. !).

This recording here starts with track number

01. intro by an official person, talking in his local Vienna accent:

Meine sehr verehrten Damen und Herren,
würden Sie sich bitte niedersetzen.
Wir müssen vor Beginn des Konzerts
eine ganz kurze Durchsage machen,
es ist besser, wenn das allen klar ist.

Das heutige Konzert besteht aus zwei Teilen,
der erste dauert dreissig Minuten
und wir bestritten von den "Eire Apparent",
das ist das Quartett, das Jimi Hendrix
vor eineinhalb Jahren entdeckt hat,
und mit dem er auf der Amerikatournee
sehr grossen Erfolg gehabt hat.
Anschliessend ist eine Pause von zehn Minuten,
und nach dieser Pause hören Sie
sechzig bis siebzig Minuten Jimi Hendrix.

Wir bitten die Photographen,
die ich hier recht zahlreich sehe,
zu beachten, dass gemäss Vertrag
jedes photographieren verboten ist,
sowohl vor, als auch in der Mitte,
als auch nach des Konzertes.

Bitte stehen Sie nicht von Ihren Sitzen auf,
sie riskieren, von den anwesenden Beamten
aus dem Saal gewiesen zu werden.

Bitte halten Sie sich dran,
das Blitzlicht ist überaus störend.

Wir danken Ihnen für Ihre Aufmerksamkeit !

For all our friends abroad, with just limited acquirements in the, admittedly quite
complicated, Austrian (German) language - especially this damn funny broad dialect
in the Vienna region - here is a short subsumption:

Please SIT DOWN !

Today's concert consists of two parts,
first thirty minutes of "Eire Apparent",
a quartet discovered by Jimi Hendrix.
And after a ten minute long intermission,
Jimi will play sixty to seventy minutes.

According to the contract photographing
is not allowed, whether before, during,
or after the concert.

Don't leave your seats, you're risking to get
expelled from the venue by attendant officials.

Follow these rules,
flashlights are most annoying...

Thank you for your attention !

After this massive "attempt at intimidation" (remember: 1969!
Europe one year after the "Prager Frühling", the final years
of the so called cold war!) the musicians entered the stage:

02. intro by Eire Apparent-member Ernie Graham

Guten Abend !

Hello !

We're gonna try and amuse you
for thirty minutes or so
before the intermission.

They hope you like it.

If you don't:
Jimi's on in about fortyfive, fifty minutes...

like that...

I really do hope you like it

We'd like to start

We'd like to start
when everything's ready here...

Then they started to get their instruments in tune:

03. tuning a.k.a. soundcheck, and again Ernie Graham:

Whe we get in tune, you'll get a number
recorded by the Everly Brothers...
it's on one of their albums


(Yeahh !!)

GOOD ! Good !

(giggling, tuning)

This one's called: "The Price Of Love"

And another funny song introduction (watch out, all you Bob Dylan-fans !) starts here:

05. ...thank a really hard Rock'n'roll-number...

Thank you very much !
We'd liked it, too.

I don't know -
and then if you like Rock'n'roll
Really really hard Rock'n'roll
is a really hard Rock'n'roll number
that was recorded by Bob Dylan.
He very very seldom records Rock'n'roll,
but this is one of his.
We'd like to
our lead guitarrist
in this one.

? As we mean ? -or- ? A free man ?

This one's called: "Highway 61 Revisited"

the next introduction, track number

07. ...tuning...we deceided to cut it short...

Leads to the only known live recording of "Rock & Roll Band" , a song
written by at least one bandmember of Eire Appartent. In fact it was written & recorded
just 16 days ago, on January 5, 1969, at Polydor Studios, London, with Jimi Hendrix on
guitar. This last session was produced by Carlos Olms.

"Rock & Roll Band" was not included on their vinyl album "Sunrise" (1969, Buddah Records,
in the UK and Germany: Number 203 021, in the US: BDS 5031), it was only released as a
7" vinyl single, together with B-side song "Yes, I Need Someone" (1969, Buddah Records,
just in the UK and Germany: Number 203 039) and especially the German one, the only one
with a picture sleeve (pics in the folder) became soon a treasured collector's item.
And all the available CD's had this song included as a bonus, usually as track #06,
between "Someone Is Sure To (Want You)" and "Morning Glory" ...

After a fine round of applause, Ernie Graham talks about the severe problems the
band had during their set. Be sure you have some tissues around, and inform your
family members and pets about possible strage DIME downloader behavior, before you
start rolling on the floor...
This also led me to add this bonus track #11. to both EDITed versions...

09. ...thank you...having some troubles...the drums keeps moving...amp goes on & off... 23.2854

Thank you !

We're having some trouble

The drums keep moving

You understand ?

The drums keep moving back and forward
and it's very hard to play...

and the rhythm amplifier
keeps going on and off...

But we keep on !

And we'll do a number
recorded by Van Morrison
of "Them"
This is a request for all the young girls and boys,
beautiful girls...
OK boys
of Vienna

it's called: "Gloria"

The recording ends with the last notes of a final feedback, all of a sudden...
I fixed this in a proper way (IMHO...), and added this following BONUS-TRACK:

11. end of the intermission by an official person

Meine sehr verehrten Damen und Herren,
Ich darf Sie bitten,
jetzt wieder Platz zu nehmen,
weil wir sonst nicht anfangen können !

my very own translation service:

Ladies and gentlemen,
please take your seats,
otherwise we cannot start !

and after a severe tape squeaker the crowd's applause for Jimi & the Experience starts.

Chris Dixon wrote in his "30th Anniversary Series":
Show starts with the sound of hammering. I hear this at the start of many Jimi shows and
always take it to be the roadies hammering nails into the stage to keep Mitch's bass drums
from sliding around (BTW: this January tour leg marks the first appearance of two bass drums
in Mitch's kit). Jimi does say something here about "fixing the drums". Remember, Stickells
has said that they'd typically get to a venue only an hour or so before the show! Anyway,
after some pounding, some tuning and some announcements in the native tongue, we're off....

Here is what Jimi says:

I'd just say
We go gonna have
over an or one minute,
so we can fix our own drums
and we'll go fast...

One minute...

You can clearly hear the hammering roadies during this short soundcheck,
and as they had fixed THEIR drums, NO message like track #09. was necessary
during Jimi Hendrix's ceoncert...hahaha...

This concert here was recorded by Roland with analog equipment, unknown microphone and
portable cassette-recorder. The quality of the usually used types of compact-cassettes
(and they had been quite expensive...), back then, was not up to the standard of late
70ies/early 80ies, causing all those seemingly unavoidable problems in the long run,
speaking of tape jam, unsoldering coating, and so on...

I got a 1st generation copy at the times when we were young, just for my own private
use and enjoyment, and as far i am able to remember, never traded this one.
But there have surely been a couple trades by the original taper...

The recording, compared to the live sound inside the hall during the show, came out far
better as it might have been expected, and it's NOT BAD for a 41 year old show & recording ;-)

Good recording equipment, enough experience and approximately
the only sweet spot in the room - helped a lot...

The first transfer, very carefully to DAT (for our archive), happened in the 90ies.
The rest was mainly done over a long time, the final time adjustment took more or
less this week, and i hope it was worth every minute of the work.

Attached in the folder are some fotos and scans.

Another dear buddy in DIME, real-O-mind (G2), usually writes:

It is what it is - "It ain't perfect, but it ain't bad"

Nothing to add, except:




- January 22, 1969 -
Grosser Saal,
Konzerthaus, Vienna, Austria

First show, at 8:00 pm

motto of this night - and for
a series of other concerts:
'Stimmen Der Welt' - '... Music of the Spheres ... Voices of the World ...'

Vienna (German: Wien; Austro-Bavarian: Wean) is the capital of the Republic
of Austria and one of the nine states of Austria. Vienna is Austria's primary
city, with a population of about 1.7 million (2.3 million within the metropolitan
area, more than 25% of Austria's population), and is by far the largest city in
Austria, as well as its cultural, economic, and political centre. It is the 10th
largest city by population in the European Union. Vienna is host to many major
international organizations such as the United Nations and OPEC. Vienna lies in
the east of Austria and is close to the Czech Republic, Slovakia and Hungary.


recorded by RG, audience to analog tape

the recording:

unknown microphone > unknown portable Cassette-Recorder (without any NoiseReduction) > unknown cassette type

the snail mail trade (early 1980ies...):

unknown cassette type (master) > unknown recorder lineage > my first generation cassette
(BASF CR-S II 90 - chromdioxid super II, 1-7/8ips High Bias Type II, EQ 70us, 135 meter tape)

the transfer 1 (in the 90ies):

my Cassette > Nakamichi Cassette Deck 1 (manual playback head azimuth aligned ! No NoiseReduction) >
> Analog Cable (coax) > > Sony Digital Audio Tape Deck DTC-60ES, recorded with "Super Bit Mapping" (16 bit, SP 48 kHz) >
> DAT (Quantegy Professional Studio Series DAT master R-48, 4mm Cartridge, 24 meter tape)

the transfer 2 (just this week...):

DAT (master) > Sony DAT Deck DTC-60ES, digital S/P-DIF out > Oehlbach Hyper Profi Opto Set
(optical fibre, TOS-Link) > > Behringer SRC-2496 Ultramatch Pro
(Ultra-high-resolution 24-Bit/96 kHz A/D & D/A and Sample Rate Converter & Dropouts-/Jitter Remover) >
> converted to 16 bit, SP 44,1 kHz > > Oehlbach Hyper Profi Opto Set (optical fibre, TOS-Link) >
> Terratec Aureon 7.1 PCI - Dolby Digital Live Soundcard with C-Media CMI8768 Soundprocessor Chip, digital S/P-DIF in >
> Motherboard with AMD Multicore Processor, Serial ATA Interface > CD Wave (recording) >
> Harddisc Western Digital with Thermaltake HD Cooler (EVER had a HardDisc burnout ??)

Please note that this upload contains the following THREE folders:


1. RAW - Direct Transfer of the analog cassette:

The recording is absolutely unaltered, no equalizing, smoothing
etc. was done, it's the PURE RAW VERSION from the 1st generation
cassette. And as this comes from analog tape, no noise reduction
was used, so there is a slight hiss audible - just detectable
with a good ability to hear...

THERE IS a 6 second snippet of true original tape hiss
included in this folder, at a seperate track #11...

And if you listen closer, there are some extreme volume fluctuations
(Harald used this tape mainly to adjust it for the Hendrix set...)
and tape cuts, so there is definitely some music etc.pp. lost.
The real kicker is an increasing tape speed problem as main result
of weakening batteries AND master cassette problems, not to forget
some severe wow and flutter - causing fine Mickey Mouse voices...

PLEASE CHECK out the samples in the comment section...

the transfer 2.1. :

REMEMBER THE Harddisc Western Digital with Thermaltake HD Cooler (EVER had a HardDisc burnout ??) >
> NOTHING, JUST THE RAW FILES > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME

the complete recording:

01. intro by an local official person 1:45.01
02. intro by Eire Apparent-member Ernie Graham 1:08.34
03. tuning a.k.a. soundcheck, and again Ernie Graham 2:01.03
04. The Price Of Love § 6:29.38
05. ...thank a really hard Rock'n'roll-number... 1:03.45
06. Highway 61 Revisited 3:25.24
07. ...tuning...we deceided to cut it short... 1:20.65
08. Rock & Roll Band 5:07.74
09. ...thank you...having some troubles...the drums keeps moving...amp goes on & off... 0:50.30
10. Gloria & 15:00.16

11. original tape hiss sample

total time: 38:18.32 mins


2. EDIT - Fully edited version of the show by MWM 2010

A careful hiss, hum and other disturbing noise reduction.
Any EQ'ing was very slight, using the BBE Sonic Maximizer
and several Plug-Ins, lowering some of the mud and especially
to pull the low end frequencies forward - just a touch - to help
balance it overall a bit better...for my ears...

Please do not forget that this is a 40+ year old recording, and
as we all had not that much money in the 60ies to buy Sennheiser,
Neumann or Schoeps microphones...not to speak about the "as big
as a wardrobe"-recorder- and cassette-mechanisms, or those six,
eight or ten damn big D-sized (NOT speaking about bra sizes...)
electrochemical cells - used to convert stored chemical energy
into electrical energy - needed, for maximum 60 or 90 minute
single recording time, way back then !

This all resulted in a usually recorded frequency range between
200 to 8.000 Hertz, plusminus, at best...mostly mono, really
good stereo microphones had been in the early stages of development.

Call those tapers pioneers of concert recording, the acoustic
world Lewis-and-Clarke-expedition to new unknown territories...

The further addition to the RAW files was

- all possible (and even impossible...) volume adjustments
- a 10 second long fade-in applause added, adopted from the first Hendrix show intro
- at the end, some extra outro feedback plus some audience applause with a fade-out...
- the cut in track #04 supplemented with a few seconds of music (from the same track) & crossfaded
- both cuts in track #10. supplemented with a few seconds music (same track...) & crossfaded

AND YOU'LL GET A BONUS TRACK, a seperate track #11:

Recorded material that was not used in some of the Hendrix bootlegs,
the famous announcer again, the roadies fixing the drum set to the
stage floor with hammer & nails, some instrument tuning and one of
the musicians begging for another minute for this mounting...

PLEASE CHECK out the samples in the comment section...

the transfer 2.2. :

REMEMBER THE Harddisc Western Digital with Thermaltake HD Cooler (EVER had a HardDisc burnout ??) >
> lonetaper's secret box of miracles > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME

the complete recording:

01. intro by an local official person 1:55.61
02. intro by Eire Apparent-member Ernie Graham 1:08.69
03. tuning a.k.a. soundcheck, and again Ernie Graham 2:00.70
04. The Price Of Love §§ 6:27.23
05. ...thank a really hard Rock'n'roll-number... 1:10.72
06. Highway 61 Revisited 3:25.13
07. ...tuning...we deceided to cut it short... 1:21.06
08. Rock & Roll Band 5:08.27
09. ...thank you...having some troubles...the drums keeps moving...amp goes on & off... 0:49.66
10. Gloria && 15:26.63

11. ...official person/hammering roadies/soundcheck/tuning & Jimi talking... # 1:48.45

total time: 40:43.65 mins


3. EDIT+time corrected

It's basically the above 2. EDIT - Fully edited version of the show by MWM 2010

If you really listen closer to the above versions, you will definitely notice
the steady increasing tape speed problems plus some severe wow and flutter.
Just check track #08. "Rock & Roll Band" and #10. "Gloria" with Mickey Mouse
as Eire Apparent's new lead singer...

The further addition to the EDIT files was the approach to fix this problem as
good as possible (within a reasonable time used i get absolutely no
payment for this work here, except for all my descriptions, as those fine DIME
people pay me per single word...hahaha !).

To give you an idea what's necessary:
- damn good gear in the studio
- damn good sense of hearing
- 35+ years in tape trading business
- 30+ years in all kind of studios, venues, concerts, etc.pp.

PLUS, as the tape speed is continuously increasing:

- cut the tape in spoken word passages and music
- cut the music in pieces of 1 to 3 minutes, depending on the problems
- adjust all those pieces, one after another...double-check them
- add all those pieces together and take one, two, three complete listening sessions
- if necessary, go a few steps back, and diversify the speed again...

To cut a long story short, here are the average
speed corrections used for each single track.
And please keep in mind that there had been always
mnimum thee versions, the one finally used plus
one -1 percent plus one +1 percent speed...not to
forget all the inbetween track cuts repairs...
sometimes there was a +10 percent speed increade needed !

01. absolutely nothing added..., mostly talking
02. + 1 % average tape speed increase, mostly talking
03. + 1 % average tape speed increase, mostly tuning
04. + 2 % average tape speed increase, pure music
05. + 3 % average tape speed increase, applause & talking
06. + 3 % average tape speed increase, pure music
07. + 4 % average tape speed increase, applause & talking
08. + 4 % average tape speed increase, pure music
09. + 5 % average tape speed increase, applause & talking
10. + 6 % average tape speed increase, pure music

Bonus track:
11. small parts + 1 % tape speed increase, applause & talking

PLEASE CHECK out the samples in the comment section...

If you don't like this, don't download it, maybe you can set up a TRADE with someone.

However, if you want to bitch and complain about how I did it - talk to my lawyer...
If you have comments, can add information, or add constructive criticism, please do!

the transfer 2.3. (just this week...):

REMEMBER THE Harddisc Western Digital with Thermaltake HD Cooler (EVER had a HardDisc burnout ??) >
> lonetaper's secret box of miracles > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME

the complete recording:

01. intro by an local official person 1:55.61
02. intro by Eire Apparent-member Ernie Graham 1:09.46
03. tuning a.k.a. soundcheck, and again Ernie Graham 2:02.10
04. The Price Of Love §§§ 6:21.73
05. ...thank a really hard Rock'n'roll-number... 1:13.07
06. Highway 61 Revisited 3:31.24
07. ...tuning...we deceided to cut it short... 1:24.25
08. Rock & Roll Band 5:20.52
09. ...thank you...having some troubles...the drums keeps moving...amp goes on & off... 0:52.28
10. Gloria &&& 16:25.12

11. ...official person/hammering roadies/soundcheck/tuning & Jimi talking... # 1:48.45

total time: 42:05.08 mins


the notes:

§ - cut @ ~3:29.40
§§ - cut @ ~3:29.40 - patched & crossfaded
§§ - cut @ ~3:32.60 - patched & crossfaded

& - cut @ ~0:54.40 and cut @ ~4:59,00
&& - cut @ ~0:54.40 and cut @ ~4:59,00 - patched & crossfaded
&&& - cut @ ~0:56 and cut @ ~5:08 - patched & crossfaded

# - fades out, as the rest is on countless tapes, CDRs and bootlegs...

the musicians:

Michael "Mick" Charles Cox - lead guitar (passed away August 2008)
Ernest "Ernie" Harold Graham - vocals & rhythm guitar (passed away March 29, 2001)
William "Davy" David Lutton - drums
Eric "Chris" Christopher Stewart - bass

Maybe there's one out there in DIME-land, able to confirm
that all those lead guitar work here was done by Mick Cox...
Cox left the band in early 1969 and was succeeded by Tiger Taylor,
who filled the lead guitar spot for their final year together.
and here:
Mick Cox was replaced by Tiger Taylor on lead guitar in January 1969.

And please always keep in mind that

Eric "Chris" Christopher Stewart


Eric Stewart (born Eric Michael Stewart, 20 January 1945, Droylsden, near Manchester,
England) is an English musician, songwriter and record producer most known for his
tenure with The Mindbenders in the 1960s, and 10cc from 1972 to 1995.

PLEASE support the artists and buy all their CDs & merchandise...
Check out the following websites:


VERY SPECIAL THANKS to our friend Roland Grundmann, the Vienna MASTERtaper,
i'm sure he's sitting in this large rehearsal room up there in taper's heaven,
next to Jerry Moore and a lot of our other friends that passed away too early,
recording Ernie Graham, Mick Cox, Jimi, Mitch & Noel - and all those other
great musicians...waiting there for the rest of us...except THOSE that prefer
bitching around here on DIME, increasingly exacerbating merited & longtime DIME
members & music'll get no tickets and backstage passes...hahaha...

INCREDIBLE THANKS to Fritz Rau for bringing all those incredible artists onstage,
all my buddies of "MWM", and me, myself & I for setlist & those fine descritions...

BIG thanks to my friends Bernie, Frizze, Norbert & Wolfi,
not to forget mossa, JormaJeff, hanwaker, Fabio, weizman
and and a couple more i've just the whole
"New Advanced Vienna Taper Section", back then...

Thanks a bunch to my wife, Mrs. Leo, for supporting
and taking an active part in all my crazyness...

No animals were harmed in the making of this
recording or during the mastering and transfer.

My dear buddy Ken TheCommish usually writes (and hey, he's damn right):
If you decide to download this show, won't you please consider posting a comment
on the show's board? It only takes a moment, and believe me, it takes A LOT longer
to prepare/upload a show for others to enjoy than it does to download and run...

You know, our friend Dave T says: "There's always more to come..."
And i'll promise you to keep MY/OUR tapes coming...


Absolutely no selling! Do not alter (remix/remaster etc...) this recording in any way, repost
it to other sites or even reseed it here on DIME without my permission - please feel free to
ask me priorly. DON'T convert it to mp3 or other lossy formats except for your own personal use.
And PLEASE do not share the content via rapidshare, mega-upload or similiar no means!

Carefully stored over 30+ years, transferred, edited, mastered, reworked, time adjusted,
remastered etc.pp. & finally uploaded by lonetaper on Dime, March 19, 2010. This is "MWM 0155"

This file must accompany this package to preserve the complete incommensurable informations !