LDB Special Series #323
Out of my 7,000+ shows and radio broadcasts, I have many concerts that were special for some reasons: the setlist, the
musicians, the venue or unexpected events. These are the ones I'd like to propose you. Most of these come from my
cassettes collection, so they will be released at a slower pace than my Master Series! But you won't be disappointed!
I will try to gather the most unusual things I have in my collection and, as always, your feedback and comments will be my
reward for all the work involved in this project.
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
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
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...
ZAPPA PLAYS ZAPPA
Agoura Hills, The Canyon
February 19, 2012
01.Introduction / Sexual Harassment In The Workplace
03.Hungry Freaks Daddy
04.Bow Tie Daddy
07.Any Kind Of Pain **
10.Debra Kadabra *
11.Carolina Hardcore Ecstasy
13.Wedding Dress Song / The Handsome Cabin Boy
15.Lucille Has Messed Up My Mind
16.Eat That Question **
17.Who Are The Brain Police?
18.Ride My Face To Chicago
19.Son Of Mr Green Genes
20.Treacherous Cretins **
22.Willie The Pimp
Lineage: CA-14 (omnis) > CA-9100 > Edirol R-09 > HD (via USB) > Sony SoundForge 7.0 > CD Wave (FLAC plugin - level 6)
Dweezil Zappa - guitar, vocals
Scott Thunes - bass, vocals
Scheila Gonzalez - saxophone, flute, keyboards, vocals & dancing
Billy Hulting - marimba, percussions
Jamie Kime - guitar
Ben Thomas - vocals
Joe Travers - drums, vocals
Chris Norton - keyboards, vocals
* Pete Jones - vocals
** Allan Holdsworth - guitar
Yes folks!!! Metro_cubo has crossed the ocean to capture the last date of the californian tour of ZPZ which features a great special
guest such as Allan Holdsworth. The tour was also special because it featured Scott Thunes on bass as well as many pieces that the
band had never performed untill this short tour. All with the usual sound standard of ldb master series. What do you want more?
Taping in the States is a strange experience and the venue, although with a very nice sound, is not really designed for taping. The
Canyon is a big restaurant where people eat and drink while listening to the music. The seating mechanism was also completely freaked
out: either you buy one extra-expensive ticket (68 $!!!!) that allow you to sit at the table to have dinner (of course dinner has to be
paid on top of the ticket...), or get a regular tix and wait untill the beginning of the show if there is any seat available, otherwise
you stand up at the back. No comment. But fortunately I could locate one sit fairly close to the PA.
Security was extra strict on filming. Even ladies with iPhones that wanted to have a souvenir of the evening were busted. Crazy...
The band was on fire, the show was great. Holdsworth got well with the rest of the band although you could see it was all under-rehearsed
but he did a great job anyway. The band was really enjoyable and Dweezil very talkative.
Enjoy ldb´s experience in sunny california!