ARTHUR BROWN September 9, 1972 Winston Fest, U.K. 20 minutes Don't mix playing this tape too loudly with excessive drug use. Arthur Brown never made it big and this tape helps explain why they failed to build on the success of their 1967 hit "Fire." This is most definitely an audience recording, and not a great one at that. The sound is muffled and there is a fair amount of talking near the taper.

The tape starts with an inanely insane introduction, after which Brown explains it is the band's soundcheck. The band continues with a tune laden with special effects which is somewhat reminiscent of early Hawkwind. This song is slow to get going, and once it finally does, it isn't particularly interesting and it appears The Crazy World was too out of it to pull their act together. Arthur Brown's lyrics by this time replaced the imaginative lunacy of his earlier works (e.g.: "Spontaneous Apple Creation") with uninspired Hawkwind-styled songs about space.

The sound effects sound like those used for the TV show Dr. Who; very dated and shortwave radio-sounding. The Crazy World of Arthur Brown may have paved the way for heavily spaced out druggie music, but by 1972, it sounds like they were copying the sound rather than experimenting with it. The power cuts out after a while and the tape cuts to Arthur explaining the nature of the power loss and proceeding to lecture about human civilization. Most of the crowd (at least those near the microphone) seems to be heckling him before the tape cuts out altogether. This tape is a sad epilogue to the late eccentric who seems to have peaked before his time. (Erik Twight)

COMMANDER CODY AND THE LOST PLANET AIRMEN July 26, 1975 Keystone, Berkeley, CA 135 minutes George "Commander Cody" Fayne, Andy Stein, Bobby Black, Norton Buffalo and the rest of the lunatic Lost Airmen could really tear up a joint with their mix of blues, rock, country swing and truck driving favorites. Caught on an excellent soundboard tape, Cody and his bandmates are at their prime on this particular evening as they race through the cream of the band's repertoire, including "Too Much Fun," "Everybody's Doing It," "Don't Let Go," and of course, "Hot Rod Lincoln."

Blues legend John Lee Hooker makes a guest appearance at the end of the second set, performing a rousing "Sweet Home Chicago."

This particular edition of the Airmen disbanded the following year. Cody has reformed the band in numerous incarnations throughout the years but has yet to fully recapture the magic the band created during this era. (Jeffrey Setzekorn)

Set List - I) Armadillo Stomp, One Of Those Nights, Everybody's Doing It, The Shadow Knows, Seeds And Stems, New Highway Cafe, Cajun Baby, Honky Tonk Blues, Minnie The Moocher, Hot Rod Lincoln, Roll Your Own, Don't Let Go. II) Tequila, Good Rockin' Tonight, Six Pack To Go, House Of Blue Lights, Too Much Fun, Jailhouse Rock, Lost In The Ozone, Hard Headed Woman, Sweet Home Chicago (w/ John Lee Hooker), Going Back To Birmingham

DEEP PURPLE May 22, 1971, Deutschlandhalle, Berlin 90 minutes While Deep Purple has come to epitomize `dinosaur' rock for the last decade between all the well publicized in-fighting, canceled tours, and poor `come-back' material, they were a legendary live act during their peak years from 1969-1973. Many of their concerts were recorded, but few can be enjoyed by anyone other than manic fans.

This is one of few early Deep Purple live tapes which is listenable. The performance is good and the recording is reasonably clear. It is a close audience recording, so close that at the beginning of the tape (which cuts in just after the opener "Speed King") Ian Gillan asks the taper, "May I ask what that microphone is for?" He doesn't seem to mind the taper though, since the band continues with a lengthy version of "Child In Time" without trying to stop the recording.

"Mandrake Root" is another very long performance during which the band jam it out at break-neck speed. John Lord and Ritchie Blackmore duke it out on their respective instruments with Blackmore seeming to win the battle. Musical excess certainly has its place in Deep Purple concerts and "Mandrake Root" continues on to the other side of the tape before winding down after half an hour. Ian Gillan bids the audience good night and the set closes with "Strange Kind Of Woman." Blackmore takes on Gillan this time and the two compete for those high notes.

A short encore set follows and Ian Gillan introduces the next song as being about "what would happen if you do all the things that your mom tells you not to...it's not that serious (neither is he), but it's worth thinking about." With that, the band starts "Into The Fire."

After "Paint It Black" (complete with the mandatory, but far from exciting drum solo), "Black Night" follows and the nudist in Ian Gillan emerges when he asks the audience to remove the rest of their clothing. Deep Purple end the show with Little Richard's "Lucille." This isn't the best Mk II Purple concert on tape, but it is certainly one of the better ones. (Erik Twight)

Tracks: Child In Time/ Mandrake Root/ Strange Kind Of Woman/ Into The Fire/ Paint It Black/ Lucille.

HAWKWIND August 10 1974, Harlow Festival, U.K. 60 minutes Here's a vintage performance by a band who redefined the term "acid rock" and dragged it into the seventies. It is difficult to determine the band lineup on any given Hawkwind live tape since this changed from night to night, depending on who was capable of playing. This concert took place before Lemmy left to form Motorhead. This tape was listed as a soundboard, but I suspect it is one of those rare audience tapes of Hawkwind which isn't too distorted to recognize. This tape still distorts but it is apparently one of very few listenable Hawkwind tapes.

Once they take the stage, they keep playing without stopping. They start with a spacey jam which metamorphosizes into songs which keep sliding in and out of similar jamming. Various instruments can be heard dropping out and coming back on so one can only assume people are walking on and off stage. The playing is pretty sloppy and alternates from sounding intense to droning tediously. The instrumental passages improve through the course of the concert and they even play recognizable songs (such as "The Awakening" from the Space Ritual album). This has been listed as one of the better quality early Hawkwind tapes floating around, which is disappointing since this one isn't great. I would recommend sticking with the officially released live albums "Space Ritual" and the later released B.B.C. concert, unless you are very curious to hear more. (Erik Twight)

HOT TUNA May 3, 1986 SUNY Stonybrook, Stonybrook, NY 180 minutes Hot Tuna fans are almost as fanatical as Dead Heads in their love and zeal for live concert recordings. It's no surprise that there are hundreds of Tuna and Jorma Kaukonen recordings in wide circulation.

A tape of May 3, 1986 recently found its way into my collection. This 180 minute show is acoustic and a beautiful low generation soundboard to boot. Jack and Jorma are in fine spirits as they journey through the vast Tuna catalog, not missing the opportunity to drop in an Airplane nugget here and there.

Before opening the show with "I Know You Rider," Jorma announces, much to the delight of the crowd, that the boys would be performing two sets and would be joined by Papa John Creach at the end of each. I always enjoyed Creach's performances with Tuna and the Airplane. With his recent passing, tapes like this seem just a little more special. He will be missed.

The first set features sparkling renditions of "Hesitation Blues," "Broken Highway," and a good solid 45 minutes of tunes featuring Papa John, including "99 Year Blues" and "Candyman."

The second set kicks off with two Airplane classics, "Embryonic Journey" and "Good Shepherd." Once again, Creach appears and kicks off the last half of the set with his signature tune "John's Other." The show is rounded out with textbook perfect takes on "Keep On Truckin," "Uncle Sam Blues," and my personal fave, "Mann's Fate."

This is a great show from a great band. It doesn't get much better than this. (Jeffrey Setzekorn)

Set List - I) I Know You Rider, Hesitation Blues, Follow The Drinking Gourd, I'll Be Alright Someday, Broken Highway, Ice Age, Too Many Years, Rock Me Baby, 99 Year Blues, Third Week In The Chelsea, Walkin' Blues, Let Us Get Together, Been So Long, Candyman, Police Dog Blues, Instrumental

II) Embryonic Journey, Good Shepherd, Another Man Done Gone, I Am The Light, Whinin' Boy Blues, Death Don't Have No Mercy, Into Her Veins, Water Song, John's Other, Keep Your Lamps Trimmed And Burning, True Religion, Keep On Truckin', Uncle Sam Blues, Mann's Fate

KING CRIMSON October 26, 1973, London Rainbow, 80 minutes This is a find. King Crimson went through a number of line-up changes with varying degrees of success and this is one of the more interesting incarnations of the band.

This show is very well recorded and even Fripp's usually faint talking between songs can be heard clearly, while the music itself has little distortion. The ominous sounding "Lark's Tongue In Aspic Pt. 1" opens the concert. It takes a moment for the crowd to calm down, but when they do, they mercifully remain silent while the band is playing. This is a fairly mellow performance and Fripp humors himself during the tune-up after the first song by reading various Crimson reviews to the crowd. They continue with "Easy Money" another long song.

Robert Fripp chants with the audience some more until the band plays an instrumental. Titled "Crimson Blues" (at least on the tape), it is an intense piece which slides into "Exiles." Another instrumental is performed, this one building momentum before evolving into "The Talking Drum." This is immediately followed by an average performance of "Lark's Tongue In Aspic Pt. 2," which is an average rendition.

There is quite a lot of applause which goes on for a while after the song is over. Crimson re-emerges to play something called "Peace - A Theme," a gentle instrumental, and finally "Cat Food." After "Cat Food," one can hear the usual cries of "Schizoid Man!," which goes unheeded tonight, as "Cat Food" brings the concert to a close. This tape is definitely worth looking for, but there are apparently quite a few poor dubs (possibly from an alternative source?) of this concert, so you might want to request a sample first. (Erik Twight)

Tracks: Lark's Tongue In Aspic (Pt. 1)/ Easy Money/ Fracture/ Book of Saturday/ Lament/ `Crimson Blues'/ Exile/ The Talking Drum/ Lark's Tongue In Aspic (Pt. 2)/ Peace - A Theme/ Cat Food.

BOB MARLEY & THE WAILERS April1973, British Tour Broadcasts In April of 1973, Bob Marley and The Wailers (still billed as simply The Wailers at the time) visited England for a club tour, and two of the concerts were wisely recorded by the BBC. One is from Leeds University in 1973 while the other sounds like it was recorded at the Paris Theatre in London. I have seen this listed as November 11, 1973, but this may only refer to the broadcast date.

The Paris Theatre tape is better quality and easier to come by than the Leeds tape, but both are certainly worth pursuing. This concert, or at least the portion which has been broadcast is about forty minutes long and features some amusingly blase commentary from a BBC announcer who mispronounces "Rastafarian" and dutifully gives song writing credits several times during the show. Apparently the stage had been partially cleared in an unprecedented move to accommodate dancing, but this option has not been exercised by anyone in attendance. The M.C. reminds us listeners that we are encouraged to dance to this concert at home, or wherever we may be hearing this show!

The Wailers open with their "Rastaman Chant" which is loose, very tribal sounding song which sounds different every time I hear it. This is a mellow version which is followed by "Slave Driver" and a great version of "Stop That Train," sung with Peter Tosh. After "Get Up, Stand Up" the M.C. shows his power of interpretation, saying "Get up, stand up, in more sense than one..." before announcing the last song of the set, "Kinky Reggae." The performance is typically great Wailers, and it is probably the best quality unreleased early Wailers performance.

The Leeds University concert is a more interesting performance and far more ambient than the Paris Theatre gig. The sound quality is very good, but still inferior to what one would normally expect for a professionally recorded concert. Perhaps this concert was only broadcast once rather than the Paris Theatre shows which are routinely rebroadcast, which would explain the relative difficulty in finding a better copy of it. Nonetheless, The Wailers sound far more comfortable than they did at the Paris Theatre. Bob Marley interacts with the crowd and they can be heard yelling and enjoying the show between songs. The Wailers start by playing "Duppy Conqueror" and they jam it out a bit, setting the pace for this performance. Peter Tosh sings "You Can't Blame The Youth" which unfortunately cuts early on. Bob Marley leads the band through "Midnight Raver" and the tape ends with "No More Trouble."

Throughout the tape, there are occasional drop-outs and fluctuations in the recording levels, but it is still a neat show to hear. This tape sounds like a more accurate representation of The Wailers' concerts than the Paris Theatre concert, and Marley fans will no doubt appreciate this. (Erik Twight)

Tracks: (Paris Theatre): Rastaman Chant/ Slave Driver/ Stop That Train/ No More Trouble/ 400 Years/ Midnight Raver/ Stir It Up/ Concrete Jungle/ Get Up, Stand Up/ Kinky Reggae. (Leeds University): Duppy Conqueror/ Slave Driver/ Burnin' & Lootin'/ You Can't Blame The Youth/ No More Trouble.

PHISH August 28, 1993 Greek Theatre, UC Berkeley, Berkeley, CA I recently read a review of this show in Dupree's Diamond News, and was slightly disappointed in their assessment of the show. While they did positively praise it, they did not praise the parts which I remember as being the highlights. Thus, I tracked down a tape of the show, prepared myself for a three hour listening experience, and relived one of my better Phish experiences. And to my surprise, the parts that I remembered as being great were not simply great, but were phenomenal, and definitely deserved to be drooled over in a written review. So here goes the drooling.

The show starts off in a rather typical fashion, with tight and energetic versions of "Llama," "Bouncin," and "Foam." The boys then throw in a quirky "Muddy Water Mississippi Delta Home," complete with washboard, before setting off on some serious jams. "Maza" starts off the improv madness in splendid fashion, with Trey and Page playing as if they never wanted to get out of this tune. The musical journey of "Fluffhead" comes next, and as always, the tune provides both laughs and some top-notch musical exploring. The highlight of the set- "Stash"- comes next. The closing solo in this version is like no "Stash" solo I've heard before. As they frequently do in "Run Like An Antelope" (which, by the way, is the highlight of the entire show), the boys take the music to a place that bears absolutely no resemblance to the place where they started. At one point, the song seems to break down altogether- falling apart as a result of too much improv- but somehow the boys manage to raise the music up from the ashes and finish the tune in a raging fashion. After this, "The Squirming Coil" is anti-climatic, even though Page's closing piano musings are typically breathtaking. For a set closer, the Dude of Life makes a rare West Coast appearance and leads the band through a fun "Crimes of the Mind."

The second set opens with the "Theme from 2001," which leads nicely into "Rift." While it is a worthy version, it pales next to the complete awesomeness which is "Run Like An Antelope." Words can do this version no justice. It simply must be heard to be fully appreciated. The boys take the jam through style after style after style after style, creating one of the strangest musical puzzles ever put together. Sadly, this song had to come early in the set, making everything after it ultimately disappointing. While "Horse> Silent in the Morning" was probably an attempt to mellow things out a little, it does so a little too much; and "Sparkle" doesn't help much either. "It's Ice" brings some energy back to the band, and to the crowd, as does the "Beach Ball Jam." Fishman steps into the spotlight at this point, and delivers a version of "Purple Rain" that would make the Purple One himself jealous. With just a vacuum cleaner and his (ahem) singing, Fishman gets the show rollin' once again, and allows the boys to finish the show, and the tour, in rockin' fashion. "You Enjoy Myself," "Contact," and "Chalk Dust Torture" finish off the set, while a happy and celebratory "Daniel Saw the Stone" serves as a encore. Unfortunately, my otherwise excellent tape does not contain the spirited acappella "Amazing Grace," which helped end the show on such a cleansing note. (Jason Gossard)

PINK FLOYD May 15, 1971, Crystal Palace, London. 90 minutes This is one of the more famous early Floyd gigs, the Crystal Palace Garden Party. Floyd used a number of elaborate props including a giant octopus which was supposed to have come out of the pond. This concert also marks the debut of "The Return of The Sun Of Nothing," which later became "Echoes," a staple performed from 1971 through the 1975 tour. Unfortunately, the party was heavily rained upon, which is abundantly clear on this tape. The taper and someone with him are having a disagreement about moving out of the rain, but thankfully this dedicated taper is willing to stand in the rain and keep the tapes rolling. The quality is pretty rough and quite muffled. The non-stop audience chatter further mars the recording.

An average version of "Atom Heart Mother" opens this show. It is performed without the orchestra, which means Rich Wright's keyboard playing is more prominent in the arrangement. After "Fat Old Sun," Roger introduces the premiere of Floyd's latest extended song "The Return of The Sun Of Nothing" which was subsequently retitled "Looking Through the Knotholes In Granny's Wooden Leg" before they settled on "Echoes." Since this song has not been heard before, at least some members of the audience shut up to listen (and allow us who weren't there) to hear the song.

Dave Gilmour sings higher on here than on later versions of the song and it is interesting (albeit sometimes difficult) to hear the different lyrics. The guitar playing is also noticeably different from later versions of the song when Gilmour adopted a more subdued style. Pink Floyd's live performances were generally refined by this time, so the return to the raw sounding jams on this show is a neat change. This is the high point of the show as the rest of the set is only an ordinary performance which I don't think makes particularly good listening given the compressed recording. Since good quality Floyd tapes are pretty common, low fidelity tapes such as this one are only really worthwhile for whatever historical value you'd place on a tape. Unless you're one of those collectors who wants it all, stick to better quality tapes and find some kindly collector who'll give you "The Return Of The Sun Of Nothing" on the end of a tape or something. This tape is usually listed as being over ninety minutes but apparently if you cut off the tuning up it all fits on a ninety minute tape. I am not sure if there are copies available with "Return Of..." uncut. (Erik Twight)

Track List: Atom Heart Mother/ Careful With That Axe Eugene/ Fat Old Sun/ The Return Of The Sun Of Nothing (cuts on to side 2 on my copy/ Set The Controls For The Heart Of The Sun/ Embryo.

PINK FLOYD March 15, 1977, Empire Pool, Wembley Arena, U.K. This is the only British "Animals" gig worth getting until something new surfaces. For some reason, all the Wembley shows were badly recorded on the "Animals" tour (possibly due to the band's quadrophonic sound system) with the exception of this one. I believe there are two tapes in circulation from this concert, one of which is more commonly available on the bootleg "Knobs" and other boots made from this show.

This second recording is significantly better than the tapes used for the bootlegs; it is very clear and doesn't distort badly for an audience tape. It is marred slightly by an occasional static sound which I think is caused by microphone problems, but the tape is still very enjoyable.

There is very little crowd noise on this tape and the applause is heard between songs which is always a welcome change. The first song to creep up on the audience is "Sheep" from the new "Animals" album. A good performance of the usual '77 tour set follows. "Dogs" goes on for over fifteen minutes while Roger Waters and Dave Gilmour present a musical interpretation of the lot of Western Man. Pink Floyd's morale was apparently lower than ever at this final world tour (The Wall, played to only four cities, wasn't much of a "tour"), but they could still play well together in concert. On this tour, Dave's guitar playing often served as a welcome antidote to Roger's verbal onslaught which can veer toward the self indulgent and cliche. The first set, comprised of the "Animals" album with the song order re-arranged concludes with "Pigs (Three Different Ones)" after about an hour.

The second set consists of a live performance of the Wish You Were Here album. "Shine On You Crazy Diamond" is played in the same two parts (1-5 and 6-9), but it is the most interesting song from the album to hear in concert, as the other songs are fairly true to the originals. The tape ends immediately after the last song from the second set, missing the encore of "Money" which is available on the other recording circulating from this concert. The tape is about two hours long very much worth finding if you like Floyd. This is one of the better quality recordings from the tour and certainly the best from any of the English dates. (Erik Twight)

Tracks: Sheep/ Pigs On The Wing Pt. 1/ Dogs/ Pigs On The Wing Pt. 2/ Pigs (Three Different Ones)/ Shine On, You Crazy Diamond Pts. 1-5/ Welcome To The Machine/ Have A Cigar/ Wish You Were Here/ Shine On, You Crazy Diamond Pts. 6-9/ (From the other recording;) Money.

THE ROLLING STONES June 1, 1975, Dunkirk Hall, L.S.U., Baton Rouge, L.A. Second show 130 minutes This is a very good audience tape of The Rolling Stones' first night out with Ron Wood who was hired as a "half-Stone" on this tour (before becoming a full Stone). The guy who recorded this did a very good job, and the tape has a clear, even sound to it (although some more bottom end would have made it almost perfect). The guitars are pretty loud and there is little audience noise, making this an enjoyable listening experience. This concert (as well as the afternoon one) has been bootlegged before. The best vinyl release of this gig is reportedly Whores In The Night and I am sure there are at least a couple of CD pressings now available of this show, but one is almost certainly better off seeking out a good tape dub of this concert.

The Stones rehearsed in Montauk, Rhode Island for this tour in the spring of 1975 just after Mick Taylor announced his departure from the group. While some fans were (and continue to be) skeptical regarding Ronnie Wood's qualifications as a Rolling Stone, the "greatest rock n roll band in the world" could still live up to that name on a good night. This particular performance is a bit shaky, but this could be expected for the band's second live appearance with a new guitar player on their first tour date since they played Berlin in the fall of 1973.

The final bars of "Fanfare For The Common Man" starts this tape. The music was played to introduce the Stones on the whole tour, and the crowd goes wild between the end of this and the opening chords of "Honky Tonk Woman." The first half dozen songs are fairly straightforward versions, although the medley of "If You Can't Rock Me - Get Off My Cloud" sounds noticeably more energetic than the version on "Love You Live." The percussion, piano and guitar parts all stand out without any of them soloing, a recurring trademark of the Stones' live sound. The band loosens up a bit for a lucid performance of "Gimme Shelter." This is also a great version, which stands out from the rather standardized renditions which were played later in the tour. The ethereal tone of the music is unfortunately not picked up by Mick Jagger who sings the song too quickly, sounding incongruous with the music.

Ronnie takes the band into the next song, "You Got To Move," before Jagger introduces the 1975 model Rolling Stones: Billy Preston, Ron Wood (celebrating his birthday), Charlie Watts, Ollie Brown, Bill Wyman and Keith Richards, "who is going to sing Happy for you; no he's not - he's going to sing something completely different!" Jagger tells the crowd before laughing. Keith et. al. actually start playing "You Can't Always Get What You Want" which is less than spectacular. They start at the usual dead slow tempo, but after the first verse they speed it up for no apparent reason. One wonders if this was due to mere sloppiness, as Mick Jagger indulges in one unpleasant falsetto-screech after another before the song slows back down and finishes. "Happy" comes next, and this is a pretty good version with Mick and Keith howling incomplete verses, which rather suits this song.

"Luxury" is introduced as a reggae song which it clearly isn't. Mick indulges in a few more unnecessary falsetto yelps which don't ruin the song, but which hardly augment it either.

Some disagreement among the band results in a change of bass players for "Fingerprint File," and Billy Preston then plays a couple of solo songs, "That's Life" and "Outta Space." When the Stones come back out to finish the show, Ron Wood experiences some problems at the beginning of "It's Only Rock N Roll." "Midnight Rambler" finishes the show.

This tape is a must for any Stones fan. It's not their hottest night, but it is certainly an interesting concert and has its moments. The quality also adds to this appeal. (Erik Twight)

Tracks: Intro/ Honky Tonk Woman/ All Down The Line/ If You Can't Rock Me - Get Off My Cloud/ Rocks Off/ Ain't Too Proud To Beg/ Starfucker/ Gimmee Shelter/ You Gotta Move/ You Can't Always Get What You Want/ Happy/ Tumbling Dice/ Luxury/ Fingerprint File/ Angie/ Wild Horses/ (Billy Preston: That's Life; Outta Space)/ Brown Sugar/ It's Only Rock N Roll/ Jumping Jack Flash/ Rip This Joint/ Street Fighting Man/ Midnight Rambler.

SANTANA May 19, 1968 Avalon Ballroom, San Francisco, CA 90 minutes This FM broadcast offers Santana fans a rare glimpse at the band prior to the group's 1969 Columbia Records debut and their triumphant appearance at Woodstock.

Here we have a very youthful sounding band blending traditional Latin music with urban Chicago blues. Keyboardist Greg Rollie, later to form Journey with fellow bandmate Neil Schon, has a major presence in the band's overall sound, providing the bulk of the vocals, as well as the ever present Hammond organ.

Most of the tunes performed at this show appeared on the first Santana album a year later. Solid renditions of "Evil Ways," "Persuasion," "Jingo" and the centerpiece for many early Santana shows, "Soul Sacrifice," are performed. "Soul Sacrifice" features a long jam with blues great Junior Wells on harmonica and the horn section from The Fourth Way. Wells and The Fourth Way shared the bill that night at the Avalon.

Considering how well all the material is played at this show, it's surprising that it took another year before the band released its first album. (Jeffrey Setzekorn)

Set List - Waiting, Treat, Evil Ways, Shades Of Time, Savor, Jingo, Soul Sacrifice, Persuasion

THE SKATALLITES August 1983, Montego Bay, Jamaica. Reggae Sunsplash Festival. Soundboard tape, 70 minutes In the early 1960's, the Skatallites were something of a Jamaican equivalent to Booker T & The M.G.'s. They were an instrumental band which performed both on their own and as a backing band for Ska artists (working for one of Jamaica's leading studios, Studio 1 I believe) just as Booker T and company were the house band at Stax Records in Memphis.

The Skatallites' influence on Jamaican music was as significant as that of better known musical legends such as Bob Marley and Sly and Robbie, and this tape captures their reunion (as well as a set by vocal group The Melodians) from the 1983 Reggae Sunsplash Festival in Montego Bay.

The recording is very clear, with a full sound. The recording sounds like a good audience tape, but it is apparently a soundboard tape, as it came indirectly from organizers of the festival. All the instruments come out loud and clear on the tape (no small feat given the number of musicians on stage) and the crowd noise is minimal.

The first fifteen minutes of the tape comprises a set by The Melodians, who play three songs ending with a lazy song called "Down Here In Babylon."

The Skatallites are then introduced, which takes a while since there are so many of them. When they get underway, there is no stopping them. They play mostly up-tempo ska instrumental numbers, with some sporadic vocal performances. This tape is a lot of fun to listen to, even if you are only somewhat into Jamaican music. One can hear some similarities between the Jamaican popular music of the 1960's and the soul music of Memphis during the same period. Some of The Skatallites' slower songs sound like Stax gone to the islands. The horn passages and some of the rhythms produced by both forms of music practically sound interchangeable. The Skatallites have had a remarkable legacy in Jamaican music, so if you want to hear some amazing roots music, this is played by some of the best in the business. Definitely a must. (Erik Twight)

BRUCE SPRINGSTEEN May 9, 1974, Harvard Square Theatre, Cambridge, MA 80 minutes This tape has often been listed as a soundboard, but it is in fact a close audience recording. This is apparently the show attended by Rolling Stone magazine critic Jon Landau who later wrote of the show "I have seen the future of rock n roll and his name is Bruce Springsteen" (to avoid misrepresentation, I believe that article was published in The Real Paper. According to Charles Cross in Backstreets , "I Sold My Heart To The Junk Man" was a new addition on this night. I think Bruce and company were opening for Bonnie Raitt at this time and they must have been terribly difficult for her to follow. The Boss cooks on this tape, living up to his legendary status as a live performer even before his records started to sell well. Part of the soundcheck is included here too; a rehearsal of "E- Street Shuffle" followed by a band discussion of the performance before more rehearsing. By this point, there are people near the recording mike arguing about someone's (presumably the taper's?) right to be there.

The tapes start rolling again at show time, when Bruce Springsteen and the E- Street Band are announced. Bruce says he feels like he is back in New York, and the band starts a slow version of "New York City Serenade." The highs during this song can get pretty abrasive after Bruce starts singing, but this can be alleviated with an equalizer.

Bruce later tells the audience about listening to the radio and gets his harmonica out of the next song, "Spirit In The Night," which had previously been performed as "Wild Billy's Circus Story." The party gets started on stage during this song and the E-Street Band keep it up for the next few songs until he introduces the next sad song, describing how he met "this beautiful girl...and I gave her my whole heart, every bit and she gave it back to me a month later, all beat up so bad and so terrible looking, that I sold my heart to the junk man...." This song sounds like a Motown call- and- response rocker on which Clarence sings with Bruce and solos away between verses.

"The E-Street Shuffle" is a slow groove, but this is an abbreviated version. The mellow tone continues on "Kitty's Back," a frequent finale. They take their time with this song, but Bruce has come up with a new finale. It is an early rendition of one of his best-loved songs, "Rosalita." The band lets loose with it for a while before it winds down. The concert runs for a little over an hour but if you want a copy with the soundcheck material, add about ten minutes. The recording quality and performance both warrant seeking this tape out. Bruce didn't always object to tapers (or even bootleggers for a while) and while his disdain for bootlegs (especially since the "Born In The U.S.A." tour) is most understandable, it is too bad he no longer endorses the taping of his performances. (Erik Twight)

Track List: E-Street Shuffle (soundcheck)/ Intro/ My City Serenade/ Spirit In The Night/ I Sold My Heart To The Junkman/ Does This Bus Stop At 82nd St.?/ Saint In The City/ E- Street Shuffle/ Kitty's Back/ Rosalita.

24-7 SPYZ September 3, 1989, Rotterdam Pop Festival, 20 minutes, Broadcast on VPRO radio For those who like "Black Rock" but still haven't ventured past Living Colour or Lenny Kravitz, take a chance on these guys, especially on their material recorded before leader P-Fluid left the group. Their appearance (or at least part of it) was broadcast on "Parkpop," a program on VPRO Radio in the Netherlands. 24-7 Spyz' music is sort of like speed funk; nowhere near as hard driving as Bad Brains (who also got a second-rate replacement when their original one left) with whom they have been often compared, but the Spyz have a funkier feel.

Their introductory "Spyz Dope" rocks out, as does the rest of their brief set which includes "Poker Song," K.C. & The Sunshine Band's "That's The Way (I Like It)" which segues in to a rude song about sexually transmitted diseases and concludes with "Grandma Dynamite." (Erik Twight)

FRANK ZAPPA March 8, 1974 Soldiers and Sailors Memorial, Kansas City 135 minutes Without a doubt, the late '73 and '74 touring bands were the funkiest bands Frank took on the road. George Duke, Jeff Simmons, Napoleon Murphy Brock, the Fowler Brothers- these bands contained some of Frank's loosest and most unreserved cohorts. As always, Frank took on many of the attributes of these fellow Mothers, writing some of his funkiest material and playing some of his funkiest guitar during this period. While not the best sounding tape I have, the 3/8/74 show showcases the many talents of the Spring '74 Mothers, and, of particular interest to you Zappa completionists, contains some early, yet-to-be-fully-evolved versions of Zappa classics.

The show opens with a solo-filled "Cosmik Debris," in which several of the band members get to stretch out early and display their chops. "Montana" follows, and as always, Frank serves up a tasty (but short) solo. After these two rockin' but rather straight performances, the band really stretches out in the epic "Dupree's Paradise." Starting off with some frantic George Duke keyboard pounding, Zappa and the band weave through a number of different musical improvisations, going nowhere but creating beautiful music nonetheless. After about 10 minutes of musical mayhem, the band effortlessly slides into the actual tune itself. The short theme is played, and then Brock wails away on his flute, Tom Fowler thumps away on his bass, Simmons chops away on his guitar, and Bruce Fowler blows away on his trombone, all amidst the random orchestrations of conductor Frank. After the solos, a quirky transition leads into the opening bassline of "Carolina Hard-Core Ecstasy," a song which actually would not see the light of day for another year. Instead, here the bassline provides a foundation for a solid and inspired Zappa guitar workout. Upon finishing, Zappa leads the band back into the main theme, which then ends coldly, with everyone, including the listener, needing a rest.

After a rather quick but nonetheless funky "Pygmy Twylyte/ Dummy Up/ Idiot Bastard Son/ Cheepnis" run-through (the latter played in a version that sounds like a hybrid of the Roxy and Helsinki versions), Zappa leads us and the band on a non-stop, eleven song journey. The trek starts off with a rough draft version of "Andy." While the basic themes are the same, the feel of the song is much different. The opening musical theme is slower, longer, and more "introspective" sounding. In contrast to this "nicer" opening, the vocals are harsher and more bizarre. Where keyboards are usually heard, the horns of the Fowlers are heard instead, but arranged differently than they were on the '88 tour. Frank plays spurts of guitar throughout the song, and his solo is longer than usual, and markedly funkier. The ending is also different, containing a new set of lyrics in addition to the standard ones, and, as on "One Size Fits All," a closing guitar rave. An interesting listen.

An early version of "Florentine Pogen" follows, which is most noticeably different in that it is played about twice as fast as normal. But it also differs in that it contains a short Duke solo, an interesting musical transition out of the solo, and a different and bizarre ending. Next comes a short little instrumental, the unreleased-and-only-played-in-'73-and-'74 "Kung Fu." Zappa then leads the band back to more familiar territory with "Penguin in Bondage" and the '74 staple "T'Mershi Dog Meat." "RDNZL" follows hot-on-the-heels of the latter, and contains the usually excellent solos from Zappa and Duke. To close the journey, and the set, Zappa heads into the "Village of the Sun," visits "Echidna's Arf," and asks the musical question, "Don't You Ever Wash That Thing?" For an encore, the band stretches out one last time for the "King Kong/Chunga's Revenge/ Son of Mr. Green Genes" medley.

As I mentioned earlier, the sound on this tape is not great. The vocals are not that clear, and the levels are pretty low. But the individual instruments come through nice and clear, and the music is so good that it would redeem even the worst sounding tape. This is by no means the worst sounding tape. It is a worthy addition to any tape collection. (Jason Gossard)

set list- Cosmik Debris> Montana> George> Dupree's Paradise, Pygmy Twylyte> Dummy Up> Idiot Bastard Son> Cheepnis, Andy> Florentine Pogen> Kung Fu> Penguin in Bondage> T'Mershi Duween> Dog Breath> Uncle Meat> RDNZL> Village of the Sun> Echidna's Arf (of You)> Don't You Ever Wash That Thing? E- King Kong> Chunga's Revenge> Son Of Mr. Green Genes

FRANK ZAPPA October 1, 1974 Basel, Switzerland Late Show, 100 minutes I just can't get enough of these '74 shows. I received this tape in the mail today, and am currently basking in the warmth of its raging musical fires. The entire band smokes in this show, and the sound quality on this soundboard is excellent.

The set list is typical '74, opening with the one-two "Tush, Tush"- "Stinkfoot" punch. The "Stinkfoot" really delivers, with one of the strangest and longest "Here Fido!" bits, and a Frank guitar solo that leads into a Duke keyboard solo. The "RDNZL"- "Village"- "Echidna"- "Don't" sequence comes next, and as always, these songs contain some searing solos by every member of the band. The "Don't You Ever" is of particular note thanks to some hilarious commentary on Ruth and Chester, courtesy of Frank, during the percussion freak-out that closes the tune. Frank continues his guitar furies in the "Montana" that follows, and amazingly enough, the "Montana" solo here rivals the YCDTOSA Vol. 2 solo in its randomness and eccentricity. Here, however, the band actually manages to perform the thrilling conclusion to the song. George grabs the spotlight next, spinning a tale of UFO's and blind mice and missed hits on a finger cymbal. Duke's whirling keyboard noises evntually lead into "Dupree's Paradise," the tune which is undeniably the highlight of this tape. After a manic Brock flute solo, the song somehow manages to evolve into something that can only be called a Swiss Tango. In one of his most Dead-like improvs, Frank leads the band through some strange musical territories, dancing circles around Duke's swirling keyboards, before taking off on one of his most restrained and beautiful solos.

For an encore, the band tear through a typically ferocious "Pygmy Twylyte" (the slow version, with some "Louie, Louie" thrown in just to be safe), and a "my-monitor-is-not-working-I-cannot-hear-you" version of "Room Service." Then, with a Spanish version of "Tush, Tush, Tush," this typically excellent '74 concert ends. Do yourself a favor and find this tape. (Jason Gossard)

set list- Tush, Tush, Tush> Stinkfoot> RDNZL> Village of the Sun> Echidna's Arf (of You)> Don't You Ever Wash That Thing?, Montana> George> Dupree's Paradise. E- Pygmy Twylyte> Room Service> Tush, Tush, Tush.

FRANK ZAPPA Octiber 1, 1975 Vancouver, British Columbia, Canada 90 minutes I do not like to review tapes if the shows on them are incomplete, but I had to make an exception with this tape because the music on it is so exceptionally good, as is the sound. The Fall '75/ Spring '76 tour was one of Frank's better outings, containing some of his best new material, and continually showcasing that bands incredible improvisational talents. Frank hit the road with only a five piece band on this tour, with Brock on sax/vocals, Estrada on bass/vocals, Lewis on keyboards/vocals, Bozzio on drums/vocals, and Zappa as the lone guitar player. The size of the band and/or the fact that Zappa was the only guitarist had its effect, and the result is some of the loosest playing and most Dead-like improvisation of Zappa's career.

My tape only contains the first 90 minutes of the show, but what a 90 minutes they are. The show opens with a 10 minute jazz freak-out, with Lewis, Brock, and Zappa taking turnings leading the jam. As musical chaos starts to ensue, the band jumps headfirst into the very rarely played "Apostrophe," and rocks so hard that one wonders why this never became the concert staple it deserved to be. Upon finishing the tune, Frank finally greets the audience and welcomes them to this special "Teen Hop." At this point, the music tightens up a bit, but there are no disappointments in the skeletal version of "Honey Don't You Want A Man Like Me?" or in the excellent guitar solo vehicles, "Illinois Enema Bandit" and "Carolina Hard-Core Ecstasy." One of the highlights of this show, and of the entire tour, a rather funky three song medley of "We're Only In It for the Money" material follows, which itself is followed by a solo-filled "Chunga's Revenge."

At this point, things start to get weird. The band tears through the unreleased-only-on-this-tour "Swallow My Pride," a song which sounds like "Camarillo Brillo" put through a blender. This leads right into a slow, bluesy version of "Any Downers," which contains the biggest laughs and best music of the night. During this epic song/jam, the band performs a vocal improv routine based on their experiences with Canadian Customs, and Zappa plays some of the wickedest guitar of his career. Then, to make things even weirder, the band performs a version of "T'Mershi Duween" which sounds like this song was put through two blenders. Then, sadly, the tape ends.

This tour was the last tour in which Frank was the lone guitar player. From this point on, there was at least one other guitar player to help Frank with the duties, and this had some restricting effects on the music. During this tour, however, and especially on this tape, you can hear Frank playing some of his most unrestricted music. Only having to worry about four other musicians, and no other guitarists, Frank pushes the musical boundaries as often as possible, and really seems to let his hair down. Get this tape and hear a side of Frank that, unfortunately, we didn't get to hear that often. (Jason Gossard)

set list- Opening Jazz Jam> Apostrophe, Honey Don't You Want A Man Like Me?> Illinois Enema Bandit> Carolina Hard-Core Ecstasy> Take Your Clothes Off When You Dance> Lonely Little Girl> What's the Ugliest Part of Your Body?> Chunga's Revenge, Swallow My Pride> Any Downers> T'Mershi Duween

FRANK ZAPPA March 19, 1979 Brest, France 100 minutes Along with the '84 tour, Zappa's '79 tour has never been one of my favorite tours. Apart from guitar solos, these tours seriously lacked in improvisation, and commonly relied on the same old set list night after night. Occasionally, however, Frank would have an exceptionally adventurous night on guitar, or the lyrical mutations would get out of hand, and a show would stand out. This is such a show. Every Frank solo in this show is a classic- ranking up there with the Helsinki "Inca Roads," the YCDOTSA Vol. 1 "Torture," and almost all of "Shut Up and Play." Also, the lyrical play is hilarious, with Frank introducing every band member as being "On guitar," and then inserting that phrase throughout the entire show in the most random of places.

The show starts with the first of Frank's breathtaking solos. Out of nothing, Frank creates a guitar masterpiece. As he did with "Yo' Mama," Frank just starts playing, and before long, the rest of band joins in, trying to keep up with Frank's eccentric pace. The hilarious band introductions come next, with the intro of Sophia Warren leading right into "Dead Girls of London." During this tune, Frank stops the show to yell, in English, at some beer can throwing fans, and then gets an interpreter to yell at the same fans, in French. Once this is done, the music resumes at the exact place it left off.

While the set list of this show is practically the same as the "Any Way the Wind Blows" boot (in "Beat the Boots" Vol. 1), the lyrical mutations and general wackiness of the band keeps things fresh. "Tryin' to Grow A Chin" falls victim to Denny Wally's chronic vocal goof-ups, but with hilarious results ("I'm only 14, thinly and sick, I've tried all of my life, to grow me a dick."). In "City of Tiny Lites", Denny wails away on the slide, and Zappa burns up the fretboard once again, dipping into the "Filthy Habits" riff for several bars. "Easy Meat," despite being the version with the weakest guitar vamp of its career, also cooks thanks to Zappa's ferocious playing, and some incredible rhythmic support by Artie and Vinnie. For his last solo of the night, Frank takes breaths away once again, in an "Inca Roads" solo that rivals the "Inca" solos from the London shows of this same tour (otherwise known as the title tracks from the three Shut Up and Play... albums).

This tape is a great place to start for Non-Zappa freaks who wish to get in to live Zappa tapes. Essentially, this review is for these people since literally every trader I have ever traded with has this tape. It's a great place to start, and it's also a great place to return to. One of Zappa's finest hours. (Jason Gossard)

set list- Opening Solo> Dead Girls of London> Ain't Got No Heart> Brown Shoes Don't Make It> Cosmik Debris> Tryin To Grow A Chin> City of Tiny Lites> Dancin' Fool> Easy Meat> Jumbo Go Away> Andy> Inca Roads> Florentine Pogen> Honey Don't You Want A Man Like Me?> Peaches III. E- Montana, Dirty Love

FRANK ZAPPA November 17, 1981 The Ritz, New York, NY 150 minutes The 1980 and 81 Zappa tours have always left me with mixed emotions. On the one hand, the several tours of these years relied far too heavily on You Are What You Is material. Even though I think that it is one of Frank's best albums, the lack of improv and variance in the songs makes me wish that Frank didn't spend every show on these tours trying to recreate the album. On the other hand, these shows also contained some of Frank's best non-You Are What You Is material, and also included several songs which sadly never made it to subsequent tours. But most of all, Frank's guitar playing was at its best during these years, and in my opinion, this radio broadcasted Ritz show finds Frank at his guitar playing peak.

Unfortunately, the tape I have begins with the band introductions, and while I can recognize the "Treacherous Cretins" vamp in the background, I do not know if the song was actually performed. After the intros, things start off on what for me is a disappointing note -- a guitar-solo-less "Montana." Out of sheer laziness, or possibly boredom, the '80s Zappa never got around to soloing in "Montana." This is quite a shame considering that I've never heard a bad "Montana" solo. The "Easy Meat" that follows quickly amends things, however, as Zappa plays the first of his several manic solos. The obligatory You Are What You Is sequence follows, spotlighting songs from sides 3 and 4, and doing so in a high energy fashion. Note-for-note recreations of the originals, but with a very "live" feel to them.

After this, things really start cooking. A Steve Vai metal version of "Envelopes" leads nicely into "Drowning Witch," a song that somehow manages to produce excellent Zappa solos every time. Frank picks and chokes and wrestles and bends his guitar in every way imaginable, and produces two of the craziest and most beautiful solos he has ever played. He then proceeds to do it all over again in a flawless "What's New in Baltimore?" "Moggio" and "Bamboozled By Love" are definite pleasers, but pale next to "Sinister Footwear II." Possibly the greatest song Frank ever wrote, it too is performed flawlessly by the band, and Frank again manages to emit some of the most undescribable notes from his guitar. Steve Vai gets a chance to shine in "Stevie's Spanking," and after hearing his playing, one wonders if Vai's pyrotechnic approach to guitar playing was at all responsible for Zappa's guitar experimentalness during these tours. My guess is it was.

After several routine run-throughs of songs, Zappa once again tests the outer limits of guitar playing during "The Black Page." Without a doubt, the "Them-or-Us Black Page" vamp was responsible for some of the most interesting guitar solos ever, and as is particularly noticeable here, one recognizes that much of Frank's guitar brilliance during this and other songs depended greatly on Scott Thunes' and Chad Wackerman's excellent rhythmic support. As what may be a "thank you" to Scott, Zappa lets the incredibly talented bass player sing the "Tryin' To Grow a Chin" encore, and even though his voice isn't the greatest, his angry punk singing style results in the funniest "Tryin'" I've ever heard. No small feat considering that Terry Bozzio and Denny Walley also sang this song.

If Zappa's guitar playing isn't enough, Al DiMeola - another fine Italian-guest stars in two encore treats. The first of the two is the World Premiere of "Clowns on Velvet," a very intricate yet rockin' Zappa song which, probably due to its level of difficulty, was never played again. The band does a wonderful job on it, however, and DiMeola's incredibly fast yet rather cold guitar playing fits in perfectly. The second treat is a hilarious cover version of Chris Cross' "Ride Like the Wind." Chris Cross was supposedly going to sing it with the band, but since he couldn't, Brian the drum roadie does the job. His amateur singing coupled with DiMeola's extremely out-of-place guitar playing result in a side-splitting cover.

Possibly feeling threatened by that fine Italian (yeah right!), Zappa whips out another crazed solo in "Zoot Allures." Then, after a cover of the 50's tune "This Is My Story," Frank plays yet another excellent solo in the hilarious reggae version of "Whippin' Post." A nod here to Bobby Martin's excellent rasta vocals and first class lyrical mutations. Finally, as if all that weren't enough, the show closes with the ultimate guitar vehicle - "Watermelon in Easter Hay" - and once again Zappa manages to play another ultimate guitar solo.

If you are a fan of Zappa's guitar playing, this is the tape to have. Every solo is simply awesome. As for the sound, this tape is from a radio broadcast. My tape, unfortunately, is from a radio re-broadcast, and several minutes of the show have been edited out, with a verse or two missing from several songs. No real loss, but it is slightly annoying. The sound, however, is top notch, with Zappa's guitar sounding as good as it could. And in this show, that is all that really counts. (Jason Gossard)

Set List - Treacherous Cretins?> Montana> Easy Meat> You Are What You Is> Mudd Club> The Meek Shall Inherit Nothing> Dumb All Over> Heavenly Bank Account> Suicide Chump> Jumbo Go Away> Envelopes> Drowning Witch> What's New In Baltimore?> Moggio> Bamboozled By Love, Sinister Footwear II> Stevie's Spanking> Cocaine Decisions> Nig Biz> Doreen> Goblin Girl> The Black Page. encore- Tryin' To Grow A Chin> Strictly Genteel> Clowns On Velvet> Ride Like The Wind> Zoot Allures> This Is My Story> Whipping Post> Watermelon in Easter Hay.

FRANK ZAPPA April 27, 1988 Skodsmohallen, Oslo, Norway 150 minutes As far as diversity goes - diversity in song selection, diversity in song styles - the 1988 Broadway The Hard Way tour is the cream of Zappa's touring crop. As the over six hours of released live material demonstrates, that self-destructive band played a little something from practically every Zappa album, and brought new life to some rather tired concert standards. Amazingly enough, however, that six hours of released material only scratches the surface of the 1988 tour, and it's to the live tapes that we must turn in order to reach the true depths of that amazing outing.

The Norway show is one of my favorites from the tour, containing some hilarious Secret Word usage, some unreleased '88 versions of Zappa favorites, and some of the best guitar playing Zappa managed on what was not his most successful guitar playing tour. Even in the opening vamps of "Stinkfoot," you can tell that the show's going to be a good one just by Zappa's banter and interaction with the audience. The Secret Word is introduced almost immediately ("sausage," although it's pronounced "shaushish"), and the laughs start coming uncontrollably. The music manages to successfully compete with the humor, and the first set strikes a fine balance between the two. "Packard Goose," "Sharleena," and "The Big Medley" ("Let's Make the Water," etc.) provide both laughs and awe-inspiring performances by every band member.

The lyrical mutations get a little out of hand in the second set, however, and the Secret Word invades practically every other line. In fact, even the audience members become so involved that they start yelling out the Secret Word and influencing Zappa's singing. But amidst all this lyrical craziness there occurs what I think is the single greatest solo of the entire '88 tour. When Frank steps up and takes his solo on "The Torture Never Stops," some of the nastiest out-of-tune notes fly from his amps. Realizing the pure ugliness he is creating (and not being the same Zappa of 20 years ago), Frank apologizes to the crowd, and calls on Walt Fowler to solo while he tunes his guitar. Walt's solo is amazing. Taking off from the strangled notes Zappa coughs up, Walt soars above the Tortured vamp, and blows some of the sweetest horn you will ever hear. Makes you wonder why every "Torture" doesn't contain a horn solo. Simply breathtaking.

After this musically transcendent moment, the band gives us the funniest collection of songs Zappa has ever performed - "The Texas Motel Medley." Consisting of lyrical reworkings of three Beatles songs - "Strawberry Fields," "Lucy in the Sky with Diamonds," and "Norwegian Wood" - Zappa tells the story of Jimmy Swaggert and the Louisiana Hooker with Herpes. The original Zappa spoof is funny enough, but throw in the Secret Word "sausage," and you have comedy mayhem.

Besides all this, the show also contains the 1988 unreleased versions of "Bobby Brown" and "Keep It Greasy;" a "Pound for a Brown" with a Sex Noise contest, in which several Norwegian women moan and groan and do their country proud; and several top rate Zappa solos, in "Advance Romance," "City of Tiny Lites," "Andy," and "Inca Roads."

As are all '88 tapes I've run across, the tape is audience, but high quality audience. The sound is full and well-balanced, and all the instruments come through nice and clear. (Jason Gossard)

Set list - I - Stinkfoot> Ain't Got No Heart> Love of My Life> Packard Goose (w/Bartok and Stravinsky)> Alien Orifice> Sharleena> The Big Medley. II - Advance Romance> Bobby Brown> Keep It Greasy> The Torture Never Stops (w/Bonanza> Lonesome Cowboy Burt)> The Texas Motel Medley> City of Tiny Lites> Pound for a Brown> Stairway to Heaven. encore - Bolero, Rhymin' Man> Sofa, Andy> Inca Roads, Strictly Genteel.