- November 22, 1979 - Paramount Theatre, Seattle, WA, USA
** known analog 1st gen. FM, MWM 0107 **
>> RARE COMPLETE "99.9 KISW-FM - SEATTLE ROCKS" LIVE CONCERT on Thanksgiving Day 1979 << with samples

Preliminary remark:

As far as i know (and i did a lot of research...) NONE of this recording was ever used
commercially. Please read the continuing description to get a hell of information...

This recording here comes directly from the "Men With Microphones" archive.
"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 damn long description. PROMISED !
So if you get tired reading - stop it, take a nap - and then proceed...
I tried to eliminate all indexed four letter words and ugly sexual behaviour descriptions.
But i did not eliminate all the fun we relived during transfer, tracking and uploading.
Some of the fun can be found in this following description. Enjoy !

About Pat:

Pat Benatar is an influential, four-time Grammy Award-winning American rock singer with seven
platinum and three gold albums to her credit, as well as 19 Top 40 singles. Pat Benatar was
eligible for the Rock and Roll Hall of Fame in 2004. Benatar is also known for her mezzo-soprano
vocal range.

Pat Benatar was born Patricia (Patti) Mae to Andrew and Mildred Andrzejewski (AND-zhe-YEV-skee)
on January 10, 1953 in Greenpoint, Brooklyn, and grew up on North Hamilton Avenue in Lindenhurst,
New York, on Long Island. Of Polish and Irish descent, she would grow up to be one of the most
recognized Rock Divas of all time.

The daughter of a sheet-metal worker and a beautician who once sang with the New York City Opera,
Andrzejewski became interested in theater and began voice lessons, singing at Daniel Street
Elementary School her first solo, a song called ďIt Must Be Spring,Ē at age eight. She said, "As
a kid, I sang at any choir, any denomination, anywhere I could." "We did things like sing at the
Christmas tree lighting in the middle of town on Main Street." At Lindenhurst Senior High School
(1967 - 1971), Andrzejewski participated in musical theater, playing Queen Guinevere in the school
production of Camelot and performing a solo of "The Christmas Song" on a holiday recording of the
Lindenhurst High School Choir her senior year.

Andrzejewski was cut off from the rock scene in nearby Manhattan because her parents were
"ridiculously strict - I was allowed to go to symphonies, opera and theater but I couldn't go to
clubs," and her musical training was strictly classical and theatrical. She said, "I was singing
Puccini and "West Side Story" but I spent every afternoon after school with my little transistor
radio listening to the Rolling Stones...and singing in front of the mirror with a hairbrush as
a microphone."

Trained as a coloratura and accepted to The Juilliard School, Andrzejewski suprised family, friends
and teachers by deciding a classical career was not for her and pursuing health education instead
at the State University of New York at Stony Brook. After one year and at age nineteen, Andrzejewski
dropped out to marry her high school sweetheart, Dennis Benatar.

Dennis, an army draftee who had gone to Vietnam briefly after graduation while in the Army Special
Forces, was stationed in Richmond, Virginia, for three years, where Patti went to work as a bank teller.

Discontented with her position, it was Liza Minnelli's concert at the Richmond Coliseum November 15,
1973, that inspired Patti to quit her job the next day and pursue a singing career. Patti took a job
as a singing waitress at a flapper-esque nightclub named 'The Roaring Twenties' and began singing in
lounge band Coxon's Army, a regular at Sam Miller's basement club. The band garnered enough attention
to be the subject of a never aired PBS special, and the band's bassist Roger Capps also would go on to
be the original bass player for the Pat Benatar band. The period also yielded Pattiís first and only
single until her eventual 1979 debut on Chrysalis Records: "Day Gig", 1974, Trace Records, written
and produced by Coxon's Army band leader Phil Coxon and locally released in Richmond.

Patti's big break came in 1975 at an amateur night at the renowned comedy club Catch a Rising Star
in New York. Patti's rousing rendition of Judy Garland's Rock-A-Bye Your Baby With a Dixie Melody
earned her a call back by club owner Rick Newman, who would become her manager:

"I came in from Virginia one night. I had straight red hair and I wore a dress. I sang a Judy Garland
song and I donít know what happened, I never sang in New York before in my life, even though I grew
up there, everybody just went crazy. I didnít do anything spectacular. I donít know what happened,
it was just one of those magical things. [Rick Newman] came right in and said, ĎLetís talk about you
playing here some more.í" Mr. Newman said, "It was 2:45 in the morning. We had 30 performers and she
was about #27. I was on the other side of the room drinking with some friends - then I suddenly heard
this voice!"

The couple moved back to New York that year following Dennis' discharge from the army, and Patti went
on to be a regular member of "Catch" for close to three years, until signing a record contract.

Catch wasn't the only break Patti got in 1975. Patti landed the part of Zephyr in Harry Chapin's
futuristic rock musical "The Zinger." The production, which debuted on March 19, 1976, at the
Performing Arts Foundation's (PAF) Playhouse in Huntington Station, Long Island, ran for a month
and also featured Beverly D'Angelo and Christine Lahti.

"I was 22 by the time I started to sing rock, so at first I was very conscious of technique and I
was overly technical. That proved to be inhibiting so it was a disadvantage until I began to sing
intuitively. Thatís the only way to sing rock Ė from your gut level feelings. Itís the instinct
that the best singers have."

Halloween 1977 proved a pivotal night in Patti's early, spandexed stage persona. Rather than change
out of the vampire costume she had worn to a Greenwich Village cafe party that evening, she went
on-stage wearing black tights, black eyeliner and short black top. All of a sudden, despite performing
her usual array of songs, Catch's audience was hit with this strong visual image that matched her
exceptional singing and powerful vocal range. This time she received a standing ovation. Patti said,
"The crowd was always polite, but this time they went out of their minds. It was the same songs, sung
the same way, and I thought, 'Oh my's these clothes and this makeup!'"

In between appearances at Catch and recording commercial jingles for Pepsi Cola and a number of
regional concerns, Pat Benatar headlined New York Cityís famous Tramps nightclub March 29 - April 1,
1978, where their knockout performance devoted to original rock material and ballads, plus a few
rearranged favorites, including "Bird of Paradise" and "My My My" by Taro Meyers, Roy Orbison's
"Crying," and a reggae arrangement of Led Zeppelin's "Stairway to Heaven," impressed representatives
from several record companies. They were signed to Chrysalis Records by founder Terry Ellis the
following week. Patti said, "There was a long period of three years, when I spent my time taking demo
tapes around and being rejected by one record company after another.
Then just two days after the debut concert with the band, we were signed to a record contract..."

Pat Benatar debuted the week of August 27, 1979 with the release of "I Need A Lover" from the album
"In The Heat Of The Night". Patti said, "My album was the last of a bunch by female singers to come
out so I was told not to expect much, even though Mike Chapman was producing."

Pat Benatar won an unprecedented four consecutive Grammy Awards for "Best Rock Vocal Performance, Female"
from 1980 to 1983 for Crimes of Passion, "Fire And Ice," "Shadows Of The Night," and "Love Is A Battle-
field," and was nominated four more times: "Invincible" in 1985, "Sex As A Weapon" in 1986, "All Fired
Up" in 1988 and in 1989 for "Let's Stay Together." Benatar also earned Grammy Award nominations in 1985
for Best Pop Vocal Performance, Female with "We Belong" and in 1986 for Best Rock Vocal Performance,
Duo or Group as a member of Artists United Against Apartheid for their single "Sun City." Benatar is
also the winner of three American Music Awards: Favorite Female Pop/Rock Vocalist of 1981 and 1983,
and Favorite Female Pop/Rock Video Artist of 1985. Benatar was twice named Rolling Stone magazine's
Favorite Female Vocalist, and Billboard magazine ranks her as the most successful female rock vocalist
of all time based on overall record sales and the number of hit songs and their charted positions.

In the Heat of the Night
Her single "Heartbreaker" was released in late 1979 and was an immediate hit, climbing to #23 in
the U.S. Patti said, "That was written by these two English guys, Gill and Wade, and it had all these
little English colloquialisms that Americans would never say. So the publisher gave it to me to clean
up, and I had to figure out all these lyrics. It was making me crazy. But I loved the song from the
first time I heard it, so I rewrote the lyrics and we did the song as it appears here. It's one of
my favorites."

Her debut LP, In the Heat of the Night, was even more successful, reaching #12 and establishing
Benatar as a new force in rock. Michael Chapman, (Blondie, The Knack), overwhelmed by Benatar's
talent, broke a self-vow not to take on any new artists when he heard a demo tape. Chapman personally
produced three tracks on the album, while his long-time engineer and now independent producer,
Peter Coleman (who also supervised Nick Gilder) oversaw the rest. In addition, Chapman and his
partner, Nicky Chinn, wrote three new songs for the LP, in addition to a rearranged version of a
song they wrote for Sweet, "No You Don't". The LP also featured two songs written by Roger Capps
and Patti, "I Need a Lover" written by John Mellencamp, "Don't Let It Show" written by Alan Parsons
and Eric Woolfson, and the single "We Live for Love" by band leader/lead guitarist Neil Giraldo,
a fusion of rock and New Wave that saw it reach the U.S. Top 30 and become a hit as far away as

The album would be her first RIAA certified platinum album.

The band:

Although billed as a solo artist, Benatar recorded and toured with a consistent set of band
members over most of her career, who contributed greatly to the writing and producing of songs
and are recognizable characters on album photos and in many of her music videos.

Neil "Spyder James" Giraldo
(incorrectly spelled as "Geraldo" in early liner notes/credits) is the distinctive lead guitarist
of the band and has performed on all of Benatar's albums. (He is also Pat's second husband.)
Neil also sings, plays keyboards and harmonica, and has many writing and producing credits on
the Benatar albums. Neil performed with Myron Grombacher in Rick Derringer's touring band.

Myron Grombacher
is billed as drummer on nine of Benatar's albums and has numerous writing credits. Myron is easily
recognizable in the music videos, particularly as the mad dentist in Get Nervous.

Charlie Giordano
performed keyboard duties on five albums, and is identifiable by his glasses and distinctive
array of berets, blazers and 80s-style ties. In 2007, he replaced the late Danny Federici in
the E Street Band.

The original bass guitarist was Roger Capps, replaced on Tropico by Donnie Nossov,
and then later by Frank Linx.

Scott St. Clair Sheets is credited on rhythm guitar on the first few albums.

The first album:


Pat Benatar is more than just a new female singer-- she's the brightest hope yet of becoming
the rock 'n' roll woman of the '80s. Her debut album on Chrysalis, In The Heat Of The Night,
is the proof. But even before this seductive pixie had recorded a single track, her club
appearances earned raves like these: "You can have Linda Ronstadt, Stevie Nicks, Grace
Slick and the other queens of rock. I'll take Pat Benatar... She is a heartbreaker and a
showstopper."--New York Post. "Benatar's voice has the power of Laura Nyro, the resonance
of Linda Ronstadt and a three-octave range that is almost startling ... The lady has a
definite affinity for good rock and roll."-Record World. Despite those comparisons, the
Soho Weekly News had this reaction: "She has a great voice and alreat looks, enormous taste
in cover material, and a fine band. Best of all, she really can't be directly compared to
any female singer I can think of."

Super-hot producer, Michael Chapman, (Blondie, The Knack) also was overwhelmed by Benatar's
talent. He broke a self-vow not to take on any new artists when he heard a demo tape.
Chapman personally produced three tracks on the album, while his long-time engineer and
now independent producer, Peter Coleman (who also supervises Nick Gilder) oversaw the rest.
In addition, Chapman and his partner, Nicky Chinn, wrote three new songs for the LP, in
addition to, a rearranged version of a song they wrote for Sweet, "No You Don't".

Other material includes two songs co-written by Benatar and her old friend/bass player,
Roger Capps - the sarcastic "We're So Sincere" and the funny, intriguing "My Clone Sleeps
Alone". There are also electrifying versions of John Cougar's "I Need A Lover, Nick Gilder's
"Rated X" and Alan Parsons' "Don't Let It Show". Benatar's hand - Neil Geraldo (lead guitar,
keyboards), Roger Capps (bass), Scott St. ClairShepts (rhythm guitar) and Glen Hamilton
(drums) - provide superb support, All in all, Heat is one of the most potent, exciting debuts
in a long time. Where, you might wonder, has a voice of this stature been keeping itself?
Good question. Yet the answer is quite simple.

Her all encompassing break came when she auditioned at New York's famous showcase for young
talent, Catch A Rising Star. Club owner, Rick Newman, remembers the night: "It was 2:45
in the morning. We had 30 performers and she was about #27. I was on the other side of the
room drinking with some friends--then I suddenly heard this voice!" Newman booked Benatar
again and again. Eventually he became her manager.

An engagement at Tramps followed, and thus the glowing reviews, an NBC feature by "Cousin
Brucie" Morrow, visits by suddenly eager record company representatives, and the contract
with Chrysalis.

Benatar hints at why she has such fresh impact: "I hardly ever listen to other female vocalists.
It's British male rock singers I most admirepeople like Robert Plant, Roger Daltrey, Lou Gramm.
I try to be strong and masculine on stage like them, but somehow it comes out being very feminine.
" But not the delicate sort of femininity that dominates pop music today. Pat Benatar is here to
rock and roll. "Low-key or laidback I'm not. A lot of women singers today seem to be saying 'If
you love me and then hurt me, I'll die.' I say 'If you love me, then hurt me, I'll kick your ass."'

BILLBOARD 9/15/79: PAT BENATAR - In The Heat Of The Night

Rock may have a major new female singer with this debut package. Benatar possesses a highly
distinctive vocal style that cuts through uptempo material like a razor blade. Combine that
with the hottest producer in the music business and it makes a pretty potent package.
Music is derived chiefly from lead guitar, slide guitar, keyboards, bass and drums and the
hooks abound. A number of tunes are interpretations of other artists' work although there is
some exciting fresh material as well. Best cuts: "I Need A Lover," "If You Think You Know How
To Love Me," "In The Heat Of The Night," "We Live For Love," "Rated X." Dealers: Play in-store.

How Pat and her band performed back then:

SCENE, Nov. 15-20, 1979: PAT BENATAR - Cleveland, Agora Ballroom Nov. 6 by Dave Voelker

Parma's Neil Geraldo and Pat Benatar
As I watched Pat Benatar strut seductively in her black tights and leopard skin top, my mind
kept flashing back to a certain unknown blonde sexpot I'd seen on the same stage three years
ago. I had no doubt that Blondie would eventually become a sensation--if not on the merit of
their music, then on the force of Debbie Harry's smoldering femininity. Pat Benatar, too,
embodies the sex kitten image, but if she had to resort to pursed lips and coy poses to become
a household word, then somebody's not listening. This girl can really sing.

Benatar's Agora performance was one of those rare live shows that fulfills - even surpasses -
a good album. She has her band to thank for that; the lineup was practically identical to the
one that appears on her debut LP, and the combination is a hot one indeed. Parma native Neil
Geraldo, particularly, did his home town proud with some sizzling lead guitar work that
heightened the air of excitement and kept the jam-packed club howling for more.

There was never a lull in Benatar's set, which covered the more rocking numbers from her album
as well as oldies by the Rascals and Paul Revere and the Raiders. Benatar herself is living
proof that "good things come in small packages;" to look at her, you wouldn't imagine that
such a gripping, controlled ballsy voice could come out of such a small body. Good women rockers
are hard to find, and it won't be long before Pat Benatar is widely known as one of the best.

Concert review: Bottom Line NYC, 11/20/79

Pat Benatar has been touring the club circuit of America with "Heartbreaker," her hit single
from her debut album, "In the Heat of the Night", bringing the crowds in.

After her present tour is over, Benatar and her band will head to Europe (a trip planned
just the week before her Orlando shows) where they will play in places like England, France,
Germany and Sweden. Then it's back to the states where, in March, she will record her second
album. For the new one Benatar has plans on writing more original material. "In the Heat of
the Night" contained only two songs she co-wrote with bass player Roger Capps. Other members
of Benatar's touring band included Neil Geraldo (lead guitar and keyboards), Scott St. Clair
Sheets (guitar) and Myron Grombacher (drums), who was formerly with Derringer.

The Aquarian/Nov. 21-28, 1979: Pat Benatar/Bottom Line/Nov. 20 by Mike Greenblatt

New York, NY--Holy moly! The lady's got it! To be honest, I wasn't expecting the total onslaught
of bewitching sexuality and growling vocals that Benatar presented. Within a staunch rock'n'roll
framework (her excellent band rocked like a bitch), Benatar, wearing a slinky leopard-skin top
and leotards, proved herself to be not only an enthusiastic showperson but a down-right
provocative and alluring entertainer.

Coming from a cabaret background, this Long Island rocker performed selections from her Chrysalis
debut lp, In the Heat of the Night (partly produced by Mike Chapman), along with covers of Johnny
Cougar's "I Need A Lover (Who Won't Drive Me Crazy)," Paul Revere & The Raiders' "Just Like Me"
(a killer) and the Rascals' "You Better Run," in which she pouted the sultry lyrics and turned
it into her own song.

The audience, which was filled with 20 members of her own family, was behind her all the way.
So was the band. The members (Neil Geraldo, lead guitar/keyboards; Roger Capps, bass; Scott St.
Clair-Sheets, rhythm guitar; Myron Grombacher, drums) looked like they were enjoying what they
were doing. Grombacher and Giraldo are from Rick Derringer's band. (Glen Hamilton drums on the lp.)

The originals, most notably "My Clone Sleeps Alone," were hook-filled and heady. The covers - Nick
Gilder's "Rated X" (perfect for her) and Alan Parson's "Don't Let It Show" - were great picks.
She certainly has a knack for choosing songs that compliment her stage show and show her off in
dazzling light.

Yes, definitely dazzling. Pat Benatar is one hot lady of the stage. She arouses desire and
rocks 'n' rolls at the same time. She certainly does give good shows.

Illinois Entertainer, December, 1979: THE NEW WOMEN - GUTS AND GLORY by M.J. Carroll

"A lot of women singers today seem to be saying, ĎIf you love me and then hurt me, Iíll die.í
I say, ĎIf you love me then hurt me, Iíll kick your ass.í" Pat Benatar (June 1979)

Pat Benatar is much more than a red-hot up and coming rock Ďní roll singer. She is a woman for
the 1980s: not so much liberated ("I was always liberated.") as realistic. Unlike some of the
current breed of female singers, Benatar knows her place in the world, knows what she wants out
of life and isnít about to let anyone or anything stand in her way. She is determined to cut
through the out dated ideas, chauvinistic attitudes ("Nobody treats me like a little girl.")
and the producerís couch syndrome found throughout the music industry with ability and guts.

Blessed with a natural three-octave range (she gauges it at three and a half octaves), Benatar
has been singing since she was "knee high in Long Island." She loved to show off her voice and
performed in every musical, comedy and play throughout high school, yet was always led to believe
that her voice was too pure and trained to do rock Ďní roll. She grew away from performing after
school, and got married as was forced to move to the hills of South Carolina and Virginia with
her army inducted husband.

After spending several months as a bank teller ("A real drag job."), her boredom and pent-up
energy finally drove Benatar to begin performing in small clubs throughout Virginia. At one
establishment, where she doubled as a waitress, Benatar was forced to sing "live Muzak on stageí
while dressed in a flapper outfit, garters and all, but she endured, using the experience to build
her confidence and poise, and to strengthen her already compelling stage presence.

By the time her husband was discharged and ready to return to New York, Benatar had dropped her
cabaret style repertory in favor of top forty and Motown material and was eager to perform for
more sophisticated audiences.

In 1975 she made her debut at a Monday night audition at New Yorkís famed birthplace of new talent,
Catch A Rising Star, where she immediately caught the attention of club owner Rick Newman with her
powerful voice and Jaggereseque mannerisms.

"I donít try to be masculine on stage," explained Benatar, who emulates such male stars as Robert
Plant and Roger Daltry. "Iím thinking about being a male guitar player when Iím singing, but Iím
not trying to be masculine. Whatever comes out, comes out."

After several more appearances at ĎStar,í Newman became Benatarís manager and began grooming and
polishing her for the stardom he was sure was headed her way. In between club appearances and
recording commercial jingles for Pepsi Cola and a number of regional concerns. Benatar showcased
at New Yorkís Tramps, where her knockout performance impressed representatives from several record
companies. Within weeks Benatar had her first recording contract with Chrysalis Records.

As the recording of her debut album got underway, producer Mike Chapman (Blondie, Suzi Quatro)
became enamored with Benatar, broke a personal vow not to take on any new artists, and became
involved in the project. Chapman (who along with partner Nicky Chinn composed three songs for the
record) has stated that "the market wants high energy rock Ďní roll Ė thatís the direction of music,"
and Benatarís album clearly reflects this belief.

Although Benatar may have outgrown her current band, whose music is more competent than inventive,
her vocals are still a joy to listen to and the energy and emotion she projects is nothing short
of incredible.

Whether singing in the husky, breathless whispery style of "In The heat Of The Night" (the albumís
title track) or opting for the rousing, crackle-edged wailing on "Heartbreaker" (her single release)
and "I Need A Lover," Benatar doesnít hold anything back.

Her crystalline vocals spark fresh and exciting interpretations of Sweetís "No You Donít," Alan Parsonsí
"Donít Let It Show" and Nick Gilderís "Rated X," and Benatar pulls out all the stoppers on her two
original compositions (along with bass player Roger Capps), the satiric "my clone Sleeps Alone" and
the stunning "So Sincere."

"I just started writing and I donít know if I like it yet," Benatar revealed. "itís fun, and itís OK,
but Iím not doing it real seriously. If it comes to me, I do it."

Whether or not Benatar becomes a prolific composer is irrelevant as long as the vibrancy and provoca-
tiveness of her live performances remains intact. Once worried that her press image would be boring
because she is happily married and doesnít use drugs, Benatar dispels any notions that she is the cute,
innocent little pixie the moment she steps on stage.

When the music begins, the transformation into the vampish, sensual bitch everyone wants to love and to
make love to is complete. Benatar struts and purrs, prowls and growls, and shakes and screams her way
across the stage, as if daring the audience to sit there unmoved.

"Iím trying to get as much fantasy out of the audience as I can," explained Benatar. "I want to give
them something to fantasize about, something to take them out of their nine-to-five jobs and the things
that drive them nuts every day. If they have any problems at all, I want them to just forget Ďem while
Iím there. I want to get them rocking, get them moving, get them on their feet."

Her current tour is scheduled to continue until mid-December when she heads back into the studio to
work on a second album. Benatar promises that the new album will be about three-fourths original
material, "a little more crazy," and will be more New Wave influenced, "I like to do modern stuff,
English rock Ďní roll, not dinosaur music."

Benatar would also like to try her hand at acting (a la friend Suzi Quatro) in either motion pictures
or television, but sheís not pushing it, and is willing to be patient and let things take care of
themselves. For the time being, she is content to pursue her lofty musical goals.

"Iím real ambitious," Benatar proclaims. "I want it all. I donít want to be mediocre. I canít stand
being number two, it drives me nuts." All I have in my face right now is to be the best. I want to
be number one."

If audience reaction to her current tour is any indication, Pat Benatar is well on her way to
accomplishing just that.

Kicks Magazine, March, 1980

Pat Benatar is ecstatic. Her debut album, In The Heat Of The Night, is number thirty-four with
a bullet on the Billboard charts, and all available copies of the record have sold out at the
local Tower Records branch in anticipation of her Montezuma Hall concert tonight. The show,
also sold out, is the final date of a grueling four-month tour that commenced last October.

With the tourís end just a few hours away, and Benatarís single, "Heartbreaker," garnering
massive airplay and boosting her album even higher on the charts, it seems an opportune time
to reflect on her recent success and the rigors of headlining a national tour.

About "8-15-80":

Pat Benatar's 1998 live set, 8-15-80 (named after the date of the recording), captures the singer
just as her career was taking off. Recorded in San Francisco shortly after her breakthrough album,
CRIMES OF PASSION, was issued, the set is inspired...and nothing short of spectacular.

Benatar is in fine voice, while her backing band rocks with the best of them (especially Pat's
future husband, guitarist Neil Geraldo). Name an early Benatar favorite, and chances are it's here
in all its electrified glory--a cover of John Mellencamp's "I Need A Lover," as well as "Treat Me
Right," "You Better Run," "Hit Me With Your Best Shot," and "Heartbreaker." 8-15-80 is a must-hear
for Pat Benatar fans old and new.

This is an early live performance in a small venue when the band had two guitarists. This allows
the band to sound very full, and Neil Girardo to really shine on guitar. A must have CD, and one of
my favorite Pat Benatar recordings.

I have been a Pat Benatar fan since 1979 when her frist album came out. Her music and voice are the
best and no other female rocker will ever come even close to her talent. She is my all time favorite
and always will be!

About "Concert Classics - Live In America":

Recorded live at the Rainbow Music Hall in Denver, Colorado this is an excellent performance from
an early point in Pat Benatar's career. No date is listed. But it is most likely from the tour
supporting her first release, In The Heat Of The Night. The performance also includes two cover
songs from future releases (Just Like Me and You Better Run) plus Richie Vallens' Come On, Let's Go.
The only drawback to this release is the beginning of We Live For Love is cut and fades in. This
release can be seen as a quasi-legal offering. It doesn't appear in any official Pat Benatar catalogs
and its recording lacks the production value of a major live release. But on the plus side, that
lack of production results in no overdubs or false audience participation. It's as live as a concert
should be. This is also a different show than Live From Earth, 8-18-80, King Biscuit or the New Haven
video. Regarding the performance, everyone in the band delivers including the band's namesake.
It is certainly nice to hear a female voice that doesn't rely on electronic enhancements to carry
her through a concert. And what little studio enhancements were used for her official releases are
not required for this show. Just listen to how Pat goes from the operatic phrasings of We Live For
Love to the boisterous shouts of No You Don't. Pay attention all you divas and Hollywood types.
This is real.

Early live recordings:

Seems to be hard to find Pat Benatar recordings from the 70ies, although a lot of radio stations
broadcasted various concerts from her first nationwide tour (October 1979 to early February, 1980)
supporting her first release "In The Heat Of The Night".
Commonly known are just two official (one is a tad releases so far:

Pat Benatar's live set, "8-15-80" (named after the date of the recording), released almost two
decades later in 1998, captures the singer just as her career was taking off and was recorded
live at the Old Waldorf, San Francisco, California on August 15, 1980 & at the Bottom Line,
New York, New York, on November 13, 1979.

PAT BENATAR "Concert Classics" - a 2008 issue UK CD album recorded live during her performance
at the Rainbow Music Hall in Denver, CO - 01/22/1980 (from a FM broadcast on KAZY), a "Live In
America" CD - Import.

Searching the DIME-bot for audio and recordings 'of independent origin (ROIO) which have not been
officially released' showed just these two uploads from her first tour:

Torrent: 87739 - June 2006 - Uploaded by: ossie_66
Pat Benatar: Agora Ballroom, Cleveland, OH - 6 November 1979 FM Broadcast 9 tracks

Torrent: 224836 - Nov 29, 2008 - Uploaded by: concerts1
PAT BENATAR Agora Cleveland Ohio USA - November 6, 1979 WMMS Radio Broadcast 8 tracks

and in fact it's the same 9 song radio broadcast like the old ossie_66 upload...

About this concert here:

The concert was broadcasted live in it's entirety on Thanksgiving Day '79, which was de facto
November 22, 1979, by KISW (99.9 FM) - a radio station in Seattle, Washington. Currently their
format is active rock, with the slogan, "The Rock of Seattle"...
KISW has a long history in Seattle as a hard rocking album-oriented rock station with the slogan
"Seattle's Best Rock". Over the years the station has employed some of Seattle's most successful
on-air hosts and DJs, including Bob Rivers, Crow and West, Robin and Maynard, Steve Slaton and others.

In 1969 the station was purchased by Kaye-Smith, a partnership of famed entertainer Danny Kaye and
Lester Smith. At that time Kaye-Smith were also the owners of the number one pop music station in
Seattle, KJR-AM. By 1971 KISW had switched to a rock based progressive or underground style of format
pioneered by Tom Donahue at KMPX and KSAN in San Francisco.

KISW was not the first commercial station in the Seattle/Tacoma market to experiment with rock and
roll programming on the FM radio dial - KOL had already accomplished some success with their FM
frequency. Through the early and mid-seventies KISW evolved, as most of the FM progressive stations
did, into the more tightly controlled album oriented rock (AOR) format.

A key period in KISWís history began in the late 70s, when the station adopted the slogan ďSeattleís
Best RockĒ. Seeming to embrace a younger, more blue-collar aesthetic than Seattleís other (AOR)
stations, KISW added hard rock and heavy metal into the music mix - even in the mornings.

KISW Radio Seattle had a Duck mascot that promoted the station from 1977 to 1980. The KISW Duck
attended public gatherings, fairs, festivals, rock concerts, sporting events and other area events
to promote the station visiblility in the station listener area. The KISW Duck attended the 1978
Rose Bowl in Pasadena, California and was briefly seen on the National TV broadcast. The game
featured Washington and Michigan. The game was won by Washington 27 to 20. The KISW Duck regularly
attended rock concerts and once performed with the TUBES rock group during their show at the Paramount
Theater in Seattle in 1978. The KISW Duck was also well known for giving away donuts to listeners
who drove by the station every Friday morning. The KISW Duck is probably best known for being the
victim of a police beating that happened at a Richard Pryor show in 1979 outside the Paramount Theater
in Seattle. Although it was never clear what triggered the incident the charges were eventually dropped
by the Seattle city attorney. The story of the beating was covered in several national music trade
publications at the time. The KISW duck was portrayed by Daniel O'Brien a Seattle native and local
promoter who was, beside being the KISW duck, one of the founders of a local entertainment magazine
known as "The Rocket".
The KISW Duck quacked his last quack in 1980 when the station dropped the promotion.


When our all time favourite band Blondie changed their punk/wave rock in the late 70ies to disco
(and Debbie solo later to reggae), we almost lost our interest, but the next big thing was waiting:
Pat and her band. Working as parttime DJ in a local youth center i remember clearly playing her
first single, and their first LP just blew me away. Nicky Chinn and Mike Chapman are incredible
songwriters, and Pat and her wonderful voice singing those lyrics still givers me chivers down
my spine, even today...


A breathless drive on a downtown street
Motorbike ride in the mid-day heat
The dust that hung from the desert skies
Run, though we run it still burned our eyes
Oh, yes we can walk on the wild, wild side of life
And our movements traced by a stranger close by your side
And in the shadows of a promise, you can take my hand
And show me the way to understand

So it was necessary to get as much of Pat and her band live as possible...maybe you know this habbit...

This torrent is from a 1980 snail mail tape trade with one of those famous Seattle tapers, almost
10 years before Seattle became really famous with all those fantastic grunge bands. It's on a nearly
30 year old TDK-SA compact cassette, and labelled as 1st generation copy from FM master.

A careful transfer from analog Compact Cassette (Nakamichi Tape Deck with
playback head azimuth adjustment) to digital DAT-tapes (Tascam DA 20 markII)
during the 90ies helped to conserve this, today close to 3 decades old, show
under nearly optimal conditions...

With nowadays standards not a perfect recording via airwaves...check the samples below.
But seemingly pretty rare as i couldn't find it quite often in other collectors lists...



"In The Heat Of The Night" first nationwide tour

Paramount Theatre,
Seattle, WA, USA
November 22, 1979



"99.9 KISW-FM" Live Concert Broadcast > Unknown Tuner > Unknown Cassette Deck > Cassette Master

Cassette Master > Unknown Cassette Deck Transfer (NO HIGH SPEED DUBBING, NO DOLBY) >
> My Compact Cassette (TDK SA 90, 1-7/8ips Super Avilyn, High Bias (CrO2) Type II, 135 meter tape)


My Cassette (1st gen.) > Nakamichi Cassette Deck 1 (manual playback head azimuth aligned !) > Analog Cable (coax) >
> Tascam DA-20 markII (16 bit, SP 48 kHz) > DAT (Maxell HS-4/90s, Helical-Scan 4mm Data Cartridge, 90 meter tape)

Just yesterday:

DAT (master) > Tascam DA-20 II, S/P-DIF out > Digital Cable (coax) >
> Behringer Ultramatch SRC 2000 (Sample Rate Converter & Jitter Remover) > Digital Cable (coax) > Soundcard, S/P-DIF in >
> CD Wave (recording) > Harddisc > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME

the complete concert:

01. final soundcheck & KISW-FM Intro 0:52.71
02. If You Think You Know How To Love Me 5:50.59
03. So Sincere 3:20.51
04. I Need A Lover 4:28.04
05. My Clone Sleeps Alone 3:59.23
06. In The Heat Of The Night 8:35.10
07. We Live For Love 4:12.31
08. No You Don't 3:47.19
09. Just Like Me 2:45.16
10. Heartbreaker 4:57.20
11. Band Introduction 1:38.36
12. You Better Run 4:47.48
13. Come On, Let's Go 3:44.39

total: 52:59.52 mins


Pat Benatar - lead vocals
Neil "Spyder James" Geraldo - guitars, vocals, keyboards
Scott St. Clair Sheets - guitars, vocals, synthesizer
Roger Capps - bass, vocals
Myron Grombacher - drums

Please support the artists, visit their concerts and buy their CDs...

THIS TORRENT IS DEDICATED TO PAT AND NEIL & all their past and present musicians.
Thanks to all our MWM-members involved in collecting all those recordings back then...

Big thanks 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.

Please write your comments to show your interest in this kind of music.

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


Absolutely no selling! Do not alter this recording in any way, repost to other sites
or convert it to mp3 or other lossy formats except for your own personal use.
And PLEASE do not share via rapidshare, mega-upload or similiar no means!

Transferred & finally uploaded by lonetaper on Dime, February 12, 2009. This is "MWM 0107"