LDB Master Series #303

Hello, this is a collection of masters I would like to seed here. I've been taping shows for more than 25 years
(in 2013 I will celebrate 30 years of happy recording hobby!) and have an awful lot of masters. These are in
different formats, following the technological evolution: first on analogue cassettes, then MiniDisc, some DATs
(I was borrowed a DAT machine to record some of the shows in late 90's / early 00's) and finally digital files
using Edirol R-09.

I've taped many shows of many artists over the years (both from audience and radio broadcasts) , so don't be
surprised if you will find many different artists seeded! My music spectrum is quite wide, spanning from classical
to hard rock.

Some shows are already circulating, some others have not circulated through collectors yet.
But most of all, enjoy! They all come from my master recordings!

Please DO NOT share this music on mp3, just convert it for your own use. Sharing mp3's is the right way to make
me stop sharing music here. PLEASE DO RESPECT THIS WISH and enjoy the music in lossless form.

Let me make a point about musicians who do not allow their shows to be traded / shared for free:

1) Some of those people claim that they don't like others to trade / share their intellectual property. I am not going to
remind how really intellectual property works in other sectors such as IT but let's say that these people do care about
shows being traded for free while they do not care when photos made by professionals wearing a 'photo pass' are sold and a
profit is made beyond their will. Trackers are an easy target to ‘kill’, where individual sites by photographers are more difficult
to stop.

2) Some of these artists are themselves listeners / owners of ROIOs both audio and video, although they don't want to admit it.
And they are quite embarrassed when it is found out.

3) Most, if not all, of those who record shows do it discreetly since it is well known that the best way to be caught is to
show the microphone in front of the artist. Those who really show-off are the ones who like to film a few minutes of the
show with their smartphone or camera to keep a souvenir or post it to youtube...Not really a danger...

4) Nobody claims to have the 'right' to record shows. If artists feel that - for whatever reason - they don't want their shows
to be shared, fair enough. But they do not have to find irrealistic reasons why they don't want this to happen. Let's say that, if
you take the list of artists for which recordings exists (let's say...5000/6000), only a very small minority requires their
shows to be banned (let's say less than 50) which is less than 1%. Are they right or wrong? I don't know, let's only say that
they just doing the opposite of the big majority, as much as today's world is all about sharing freely as long as this does not
cause a financial damage to the owner, which is not the case.

5) The presence of live shows has never been the reason for an artist to be successful. But for some of them it has helped. A lot,
especially in the early days. And some of the artists that are today against such recordings are the ones that have probably taken
advantage from their shows circulating and building a strong and loyal fanbase. On the other side, artists such The Rolling Stones
or Bob Dylan for which live recordings have always been more a pain in the neck (especially in the vinyl boot days) are among
those who are ok with such recordings. Strange, isn't it?

6) The Beatles, U2, Led Zeppelin, Frank Zappa, David Bowie, Pink Floyd, Genesis, Rolling Stones, Radiohead, Pearl Jam.
What do these artists have in common? They all allow their recordings to be shared. Then one has a hard time to figure out
why artists like Artful Dodger, Dickey Betts, Blackfield, ELP, King Crimson, Bo Diddley, John Scofield do not allow it. And
the "excuses" are the most fantasy ones. "contractual obligations and the wishes of other musicians with differing opinions";
"They object to the presumption that it’s okay for someone else to barter and trade our intellectual property". Some others
send lawyers letters while it is sufficient a simple email on behalf of the artists to have them in the NAB list. And artists
like ELP who are in the NAB list do rip people off by releasing and selling their own crappy live shows recorded with a crappy
microphone with an awful sound quality!

7) Recordings are part of the music history, and no lawyer will stop them, especially in this digital era. Thanks to it we have
invaluable documents that keep the legacy of the music and make sure that some moments are captured for posterity. If a certain Dean
Benedetti did not bring his recorder, we would not have today the privilege to listen to some of the finest Charlie Parker solos
that have been saved for music students and jazz lovers to listen and learn. And God bless Mike Millard…

Live music recording will always exist, beyond me, you or the artists and his well paid legal department. That, is a fact...

London, Victoria Park
July 24, 2010

01.Florentine Pogen
02.Cosmik Debris
03.Inca Roads
04.Big Swifty
05.Easy Meat
06.Latex Solar Beef
08.Keep It Greasey
09.Peaches En Regalia

TT 60:42

Lineage: SONY ECM-TS125 > Battery box pre-amplifier > Zoom H2 wave recorder > HD > Sound Forge 7.0 > CD Wave Editor > FLAC Frontend (level 6)

Dweezil Zappa - guitar
Scheila Gonzalez - saxophone, flute, keyboards and vocals
Pete Griffin - bass
Billy Hulting - marimba, mallets and percussions
Jamie Klime - guitar
Joe Travers - drums, and vocals
Ben Thomas - lead vocals, trumpet
Chris Norton - keyboard, violin

This one is courtesy of Commissario Rex who attended the whole of High Voltage 2010 and recorded it. This one should not belong to the
NAV list since it was not released in the Instant Live series. Great short performance and nice recording from Commissario. I have edited it
and re-eq'd to make it sound more enjoyable, Other than that, all thanks go to Commissario Rex!