I am an active and enthusiastic recordist and have decades of stuff I've accumulated over the years.
One of the concerts I captured in the 90's, lives on as a bootleg which I often see around the scene of this one particularly great live electronic dance band, whose punters have created true value out of the hour and a half of live concert input I managed to record, standing right there front stage and center, with the band looking right at me.
It was a hilarious experience - I expected to get booted out pretty fast, so I held my ground as still as I could, DAT-tape rolling by, shotgun mike held in front of me like it was just normal, as if I belonged there.
The lead singer caught my eye and gave me a wide grin. I survived the concert, it was awesome, but boy was I relieved to have made it home with that DAT - which I of course, proceeded to digitize with my brand new spdf/io ..
The next year the band (who are big and famous, btw) were in the same city and I happened to be around, I got invited backstage to meet the band, participate in a bit of nerdery regarding their live setup and gear and so on, and talk about that recording I'd made.
I'd put it out as a pure bootleg, no questions asked.
Turns out they'd heard it and enjoyed it and came to appreciate the nature of their bootleggers, as avid fans who gave the band themselves something extra to think about in what was then, a burgeoning digital/online universe about to explode.
So, seeing it around, almost 30 years now .. here and there, again and again .. is quite hilarious. Youtube often recommends it to me in my playlist, its just there.
And at a certain spot in the recording, I tell my mate to stop standing so close to me (he was blocking the shottie), and prepare for my ass getting bounced - which never happened, thankfully.
So yeah, I just wanna say, if you personally have the desire to be a recordist, and have a pure purpose in it, I'd say just freakin' go for it.
Record All The Things.
Its good for the Artists, yo. And also their fans. (Its how we get rid of the managers, cough cough..)
We shouldn’t need the managers, but the record industry does everything it can to consolidate everything.
However, I do notice that for more uncommon music, the record industry sort it just looks the other way. For example Eminem has tons of really old music on YouTube that I’m sure his lawyers could figure out how to get taken down. But it just stays up.
I would really like music copyright to change within my lifetime. It should realistically be 30 years from first release, and after that it should go straight to the public domain. By then everyone’s made their money. Even Elvis won’t be public domain until like 2050 or 2060. I don’t really think he needs the money right now.
I agree mostly but take issue with "not needing managers". As someone who went from split shows to big venues to touring, managers (good ones) are a godsend.
Will there be convenient parking?
Do they have adequate power?
Is the stage big enough?
Do we need to book sound?
Is there a weather contingency?
Where can we sleep?
What time is load in?
What time is sound check?
What form of payment?
How will they be advertising?
Who do we give promotional materials to?
Etc etc. Having someone take care of all this stuff allows us to focus on practicing and recording (which has another long list of questions that need to be addressed).
Not to mention networking and venue access. Put all that stuff together and it's a full time job that artists are poorly equipped to handle.
I assumed managers in this context, meant the record industry machine. Most bands don’t care if you find a bootleg of a live recording, it’s going to be a very different experience versus an actual album anyway.
Well that would be legal/contractual stuff you signed with the label. Doesn't have anything to do with managers, which was why I wasn't really sure what parent was saying.
> However, I do notice that for more uncommon music, the record industry sort it just looks the other way. For example Eminem has tons of really old music on YouTube that I’m sure his lawyers could figure out how to get taken down. But it just stays up.
Or artists that have seen the merit in tolerating it/somewhat encouraging it. I'm a pretty hardcore Nine Inch Nails fan (seen >30 shows).
NINLive.com is a fantastic (unofficial) archive for our community. Close to 2k individual recordings, about 3/4 of all shows they've ever played have at least one recording.
NIN's camp is fully aware, the guy who runs the site has gotten invited to meet the band before. (And NIN has tossed unedited pro-shot tour footage to the fans before to play with, as well as things like directly linking to a fan-compiled concert film for another tour on their own home page).
I got invited to see a NIN show recently, which was very kind of them.
The process of actually getting in, post-invite, was a bit of a weird experience: Waiting around at the front of the venue, meeting some of his PR folks, walking all the way around the outside to go in the back door to get escorted in. At one point we were given some armbands so we could do what we wanted as if we were regular concert-goers and they turned us loose.
Anyway, as we were walking around that huge place and chatting, one of them (Marcus?) asked me how I got interested in Nine Inch Nails.
And the first thing that came that came out of my mouth was "It is entirely possible that I banned Trent Reznor from IRC 30 years ago."
The response was immediate: "Never tell him that."
Anyhow, the crew that I met were all a bunch of great folks. Wonderful positivity, fun to talk to. 10/10.
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(Now, you might be wondering why I banned Trent from #nin. That's easy: We banned everyone in that channel who said they were Trent Reznor. There's only one Trent, and these imposters showed up all the time so we did the right thing and got rid of them.
Except... I read an interview with him way back then, where he was asked specifically about IRC. His response was something like "Yeah, I tried IRC once and they banned me right away. Those guys are a bunch of dicks."
I mostly wrote a story about a concert. It was an amazing concert. I also wrote a missive about banning Trent Reznor from IRC three decades ago.
At the show, the music was good (of course it was -- I like NIN and have for decades), but the musicality of its performance was also very good. They all played it both with expert precision, and a great deal of passion. The endurance was staggering. And the technicals -- the management of different spaces (3 stages!), the PA, the lights, effects, video projections -- they all combined to alter my perspective of what is possible in a temporary, physical performance space.
I love going to concerts, big and small. This was my 4th NIN show. I've never been to any concert like that before.
---
Anyway, you've already elected to change channels. So let's change channels.
You think Pretty Hate Machine was the embodiment of everything that Trent Reznor ever learned, or performed?
How does Broken fit into that picture? (It's very different, to me.)
How does the period-correct Purest Feeling fit into it? (It's very similar, but the horns are a bit much.)
How do the various Ghosts albums fit in there?
How do the rest of them?
What fits together, and what falls apart?
Please elaborate. While I'm not a musician and I don't have the background to dissect it myself, I do appreciate the elaborations of technical makeups of music when those who can take it apart elect to do so.
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The dude, Trent Reznor, has been publishing recorded music since 1989. I find the claim that it's all the same to be pretty extraordinary. I think that satisfaction of that claim would require extraordinary proof. (And I welcome that proof.)
NIN had a messy breakup with their original manager about 15 years into things. Once Trent Reznor emerged as more or less a free agent, he embraced radical approaches to distributing music and other media.
The instrumental album "Ghosts I-IV" was released under a Creative Commons BY-NC-SA license, and the music went everywhere - and you can draw a line directly from that choice to the Oscar for the score for The Social Network.
Rumor has it that Trent Reznor himself uploaded material to The Pirate Bay, because he didn't like the audio quality of the rips that were already floating around. There are three compilations that appeared, with custom artwork, including at least one exclusive version of a track that hasn't appeared anywhere else.
I can't remember which album it was, perhaps "With Teeth," or the mentioned "Ghosts I-IV," when Trent Reznor offered the GarageBand files for the album. I thought it was amazing for an artist to offer their work up for people to remix and view, as long as they weren't profiting off of it. I've done the same with my artwork over the years, hoping that someone would come along and collab or "remix" my art into something new and interesting. I don't do promotion, so it hasn't occurred, but the idea was inspired by NIN and I think it's an amazing idea that can really build a community.
As an early teen when Broken came out, and I happened to be connected to some people into the 90's emerging industrial scene (not to take away from earlier scenes), NIN has always been a huge inspiration and got me into the grittier side of metal music.
> I've done the same with my artwork over the years, hoping that someone would come along and collab or "remix" my art into something new and interesting. I don't do promotion, so it hasn't occurred, but the idea was inspired by NIN and I think it's an amazing idea that can really build a community.
You know, right this second I am listening to a MIDI recreation of the soundtrack to a very obscure German Atari ST puzzle game from '84. Something somebody recreated where I would be surprised if more than 500 people in the world ever heard the original.
Even though you might never learn of it, given the vast number of people out there, it is entirely likely that what you did already touched somebody out there. You do not need to have built a community in order to have done something of significance.
And you're not going to plug yourself I certainly will: Appreciate your work on the NIN Hotline all these years and everything else you've done/added to the community.
> Rumor has it that Trent Reznor himself uploaded material to The Pirate Bay,
You'd certainly know better than I would but I feel like I recall Rob Sheridan confirming that in one of his interviews years later (not that there was really any doubt).
In 2006 there was a message posted by him in the forums that was: "This one is a guilt-free download. (shhhh - I didn’t say that out loud). If you know what I’m talking about, cool."
At the same time a user on TPB named "seed0" uploaded:
- A previously unreleased, professionally produced, expanded DVD version of Closure
- The full Broken movie in DVD quality (which had never leaked - the low-quality leaked versions that had circulated for yeas were missing part of it)
- 3 "The Definitive NIN" collections - which included some things that were difficult to find otherwise. (And today there are official playlists/collections by the same "Definitive NIN" name on the streaming platforms).
Maybe more but those are the most notable things I recall until all the pro-shot concert footage from the Lights in the Sky Tour got released to the fans to play with a few years later - most prominently turned into the "Another Version of the Truth - The Gift".
Not that there was any doubt, and while I don't feel like digging through all the interviews/AMAs I am almost certain that Rob Sheridan (creative director at the time) confirmed years later that the "leaks" were directly from the NIN camp.
It's still technically illegal. And I wouldn't be surprised if there's a tacit Don't Ask, Don't Tell understanding in the community between artists and recorders. Even when individual recorders are known by the community and artists, keeping the pretense of anonymity might be important to preserving and protecting the scene.
It's really up to the artists. Many are surprisingly cool with it, though there are a few notable exceptions (i.e. Prince). Sounds like the artist in this particlar case gave their blessing.
Many bands (like GD and Phish) specifically note in their rider that venues must allow and provide space for tapers to bring their rigs in.
A sibling comment in this thread pointed out my project Relisten[0], which now has over 4,000 bands who have given explicit permission for people to tape, record, and share their concerts non-commercially. We've been operating our FOSS platform for 12 years, and most of the audio is hosted by Archive.org. I can't tell you how many bands have begged us to add them to our platform.
Prince had intense business instincts, not just for becoming a vertically integrated multi-instrumental composer manager, bandleader and of course prodigious artist. Its rumored that to ruin the market demand for his bootleggers, Prince started his own sockpuppet bootleg label, that eventually released over four hundred CDs of content. Concerts, studio alternate cuts, and of course After-Shows. That label is curiously named Sabotage.
Whether the rumor is true or not, I can't confirm. What I can tell you is it's an amazing soundboard quality collection of his work product that I'm still not all the way through exploring after it briefly circulated among fans for a brief moment shortly after his death.
> though there are a few notable exceptions (i.e. Prince)
There was an episode of "What's Happening" when Rerun gets in trouble for bootlegging a Doobie Brothers concert, does anyone remember? It aired when I was a kid and now I somehow still feel guilty when I listen to bootlegs.
Yup, just remembered around ’99 I bumped into “Rerun” in full costume dancin’ for a small crowd in the parking lot of a Sugar Hill Gang concert in Santa Monica. Didn’t carry a camera in those days, as they weren’t allowed inside anyway. :-P
> The lead singer caught my eye and gave me a wide grin
Daft Punk doesn't have a singer and unless it was a very early show they wouldn't have seen them smile. Most big beat shows wouldn't have a dedicated vocalist. I'd guess Underworld or Prodigy, but lean toward Underworld.
Nope. By disturbing all the people around you with a bright screen, you prevent them from capturing the real concert right now they want to see without a flickering screen in front of them.
And personally I can record, or enjoy the real moment.
But most people who record with their crappy smartphones probably just want to get the virtual recognition after they shared their videos, they were there, "like", great. But no one I know, actually watches shaky crappy smartphone concert recordings.
I hope you told them to stop. I always do. And that's not out of any copy infringement morals or anything, but of course out of a personal enjoyment infringement. ;-)
Yeah, I get that :)
But at the same time, it’s interesting how people react differently.
Some want the moment only for themselves, others want to capture it.
I talked to a big Grateful Dead fan the other day and he told me that they had special areas setup for anybody who wanted to record. They were happy to let people share.
As a huge fan of the type of music you're probably describing, I'd love to know what artist/recording you're referring to here. Surely with the band's blessing and ~30 years of time passed, it'd be okay to divulge...
I've only heard it in a gambling context which is why I was confused. I was briefly on a UK gambling platform and they referred to themselves as punters.
"interesting, so when a fellow is taken up by the cops, and he says "thers no punt, im telling you truth", is that unfamiliar?"
Yes it is unfamiliar - it is unlikely that anyone in the UK has accidentally said that.
"i have a lot of different nationalities partaking of my wilderness lodge, and a lot of the younger english ones use punt/play/burn/scam as equivalent."
Given you have a dislike of capitals, I'll hazard a guess at your age (but not tell you). Kids here (UK) don't use words like that, says Granddad! I get a capital G because I say so.
If I had to guess, I've probably replied to a shit AI sigh
Great project, but it has an absolutely TERRIBLE UI. Please, if you love audio enough to put in the 95% of effort to get the files to the web, don't let everyone down with an atrocious interface to actually access those files.
Please, get someone who knows about usability or building web UIs to help you!
Archive.org always made puzzling UI choices, not really sure why, but its a long running trend thats not likely to change. Such that for larger Band repos, fans stepped in and made their own front ends:
Clearly this tape stash is worthy of similar treatment.
Also of note for live music fans and collectors: Legendary Long Island Radio Station WLIR Live Show Archives:
This is one of the best things I've read about in a bit. It wasn't uncommon to buy marked-up (overpriced) bootlegs of live performances on CDs in the 90s. You never knew in advance if it'd be a quality recording or total garbage. We've lost that.
I still love when one of my live bootlegs of Faith No More comes on with them doing (sometimes mocking) parodies of popular music (their rendition of Nothing Compares to You by Sinead OConnor has been in my head as I type this). When I got to see them in 2010 (I think) they were true to form and played a bunch of short (reinterpretations) covers and it was one of the best aspects of the show. And I still have a Mr Bungle bootleg with them covering Existential Blues by Tom "T-Bone" Stankus (I always thought it was Doctor Demento's Wizard of Oz until just now when I looked it up).
How would you even know about these awesome gems without bootlegs or access to see all their live shows? YouTube is less likely to capture an entire show than a clip, whereas the bootlegs were typically the full show. There are probably areas of the internet where this stuff gets shared and traded, but having it in my local music shop meant everyone had access without requiring special knowledge.
I just did two searches, one Google and one Kagi, and neither turned up the FNM Nothing Compares to You. Who knows how many copies of it exist in the world. If my music library gets nuked, who will even know about it? I think I'm gonna start uploading my bootleg recordings of live shows to IA.
I remember this too. Those bootlegs were $30 each and my friend group was really into Pearl Jam. If I remember correctly a lot of these were made out of Italy. In college (maybe late 90s) I somehow managed to come up with $500 to buy a CD burner. I would make copies of these bootlegs and sell to friends for $10. I couldn't keep up and made my money back to pay for the burner relatively quickly. I think I was even able to find some to download then burning saving me the $30 at the record store. I made my own funny CD covers. Once I got my money back for the CD burner I just asked for the cost of the Cds. Great trip down memory lane.
Are you certain Faith No More did the cover? There's certainly a Mr. Bungle version [0] from a San Francisco gig in 1990. I remember grabbing this from the Bungle Fever FTP site back in around '99. I'd often download the bootlegs, burn them to audio CD and print out a cover of the gig poster if one was available.
That's exactly the one I have! No surprise that it was mislabeled. Same vocalist, so that tended to happen before broadband was widely available. I even downloaded a song (Nebula) from Incubus's SCIENCE that was misattributed to Mr Bungle. To be fair, the singer plausibly could have been said to be doing a Mike Patton imitation.
Now that I think more about it, I must have got the track from a P2P service / network. But I had a bajillion Nirvana bootlegs when I was an adolescent. Thinking of the misnaming phenomenon, the hidden track (from Nevermind) was alternately named either "I Hate Myself and I Want to Die" or "I Love Myself and I Want to Live" on those live performances (after Cobain's suicide). 1990s and no or limited internet, so it was whatever someone decided.
Thanks for surfacing the track so readers can hear it! It's one of my favorites.
Glad I could help! Your post gave me a walk down memory lane. I'd forgotten all about the trips I used to do to this local music store that carried bootlegs. The Nirvana section was substantial. I remember having a number of them with the mislabeled tracks, including the one you mentioned. I also picked up a few live show recordings that were unlistenable, though luckily the store accepted returns.
I found an archive of the full set that includes the Nothing Compares 2 U track. Seems that they opened the gig with the song [0]. There's a neat story in the link about the show and how this bootleg got around.
Mr.Bungle
Date: 1990-05-27
Venue: (BBurnett) @The Full Moon Saloon, San Francisco, CA
Recorded By: Sean Lyons
Source: Sony Stereo Clip-On Mic > Cassette Walkman > audience master cassette > Tascam 3-head Professional Cassette Deck Model 130 > Tascam DA40 > Tascam CDRW5000 > Samplitude Professional 7.11
What a great link. FNM was the first band I loved that wasn't inherited from my older brothers. Patton remained my favorite artist for many years (still my favorite vocalist and I have tickets for one of his collaborations later this year). My music library is a little bit better because of this. Many thanks!
> You never knew in advance if it'd be a quality recording or total garbage.
I once bought a VHS recording of a Lemonheads gig after seeing them at the Glastonbury festival, guess it must have been around 1993, and in visual terms it was absolutely unwatchable - the camera wasn't still for a second - but probably pretty representative of what it was like to be there.
Mike Patton loves pop music. Those covers were most likely not mocking anything. I love me some Faith No More but haven't heard them cover Nothing Compares 2 U (which is actually a Prince tune). I'll have to check it out.
EDIT: You weren't kidding. I can't find a cover of it. Please! Share it!
FNM’s cover of the Commodore’s Easy is both ridiculous and sublime. Man they can play.
There was a good bbc show of theirs floating around on YouTube. The music is so intense that I feel these quieter pieces give one a chance to catch one’s breath.
The EP's title was "Songs To Make Love To." My older brother had just taken me to my first concert when I spotted it in a music shop the next day. Patton would later go on to participate in a collaboration (Nathaniel Merriweather) titled "Lovage: Music To Make Love To Your Old Lady By." Absolute awesome.
Midnight Cowboy was on both StMLt and Angel Dust (which I wasn't allowed to own because of the Explicit Lyrics sticker at first. My father and mother argued about that. Thanks Dad!) What a great track for slowing down. The band wasn't just about heavy and dark tones, they also appreciated and could produce beautiful music. The fulness of the song really overwhelms me when the whole band kicks in.
IA makes the most sense in the spirit of preservation.
Etree (https://www.etree.org/ ) is the longest running torrent site for tapes. It looks like only about 5% of the hundred thousand torrents have any seeders at all. Not sure how reliable requesting a seed is. I’d expect long tail stuff to get “effectively lost”. Versus IA whose purpose and funding is preservation, in addition to sharing.
This is a fun area, as the DMCA, for its flaws included a loophole for non-commercial distribution of live concert recordings. The only requirement is that it isn't an exact copy of a commercial release. I am not sure about the exact standards, as live albums often aren't the entire concert. Here are some other sites where people share these tapes.
Sugarmegs is up and running for 30+ years now. I knew the guy who started it back then and he was a Sony employee who "inherited" a T-1 connection that Sony forgot they were paying for... At least for the first few years, when content streams were now profoundly ancient real audio files.
Etree is missing self-seed then. What if IA hosted torrents like Etree does but also self-seeded the content?
Thus they are encouraging amateur third parties to pick up some of the archival slack, that style of torrent could outlive IA in case anything happened to them, and it reduces some of their bandwidth costs
It's funny to think how much effort was put into preventing bootlegging, when now everything is being recorded all the time.
The few bands that didn't care or even encouraged it reaped the benefits. I was a huge Ween fan in the 90s and bootlegged a show of theirs myself. Camera and recording devices were allowed and the result was a tremendous amount of live content available online. For some bands this might not matter, but they rarely played the same set list twice and often played songs differently from show to show. In the early internet days, there was more ween content online than you could ever hope to listen to.
As a student in the 90s I worked security for the student concert group on campus. We had to frisk people for Jello Briafa (Dead Kennedys) spoken word performance. I found a couple of tape decks, but those were allowed.
They still put a lot of effort sometimes. I saw Dave Chapelle in NYC and they made us put our phones in these pouches which were unsealed on exiting the show.
Effort is still being put into it. Just this weekend YouTube put the 4K Coachella streams behind SABR. I could still get 1080p easily but 4K required some fanangling.
I'm heartened that so much tape is still around. The lot of digital is often binary - it exists or it doesn't, but even a shred of flaking analog media can retain complete information.
I was a member of a few tape sharing communities at the turn of the millennium and spent those years digitizing scores of board and bootleg live recordings (APE or FLAC... the great debate). We'd trade our strategies for getting gear into shows, who was working door and board and was cool with what, stories of getting caught. When recorders got small enough, we started sneaking MiniDisc players into venues with microphones down our sleeves for stereo. I've still got a few stacks of those.
Leading up to that, at the dawn of LAME, I was doing the same over on IRC. Everyone with an fserve had a few tracks or albums of their favorite bands, tons local with no other distribution, and you could always message them for more info. There was a lot of love, and I found a lot of great people across the world that way.
When the RIAA crackdowns started, I archived as much as I could but lost everything in the mid-2000s when a Windows upgrade overwrote my external storage. The irony that hundreds of gigs (of both kids) would have survived if I'd put them on tape hasn't eluded me.
I remember back in the early 90s I think on the internet when it was only accessible via my university, reading on a newsgroup about how people traded bootlegs from various concerts. People would mail cassette tapes around the country and would use double cassette recorders to make a copy of their bootleg and mail it back to people. It was definitely a different time
There was lots of "tape trading" back then. Video too. Foreign TV shows, regional programming, etc. If not technically Internet material, i think this is certainly in the spirit of the Internet Archive.
The National put out a official 'bootleg' recording of two nights of concerts using the Mike "the Mike" Millard method, called Juicy Sonic Magic[0]. Only physically released on triple cassette though I think you can stream it. Sort of tangential to this conversation but it really captures the energy of a live show in a completely different way. Highly recommend checking out if you're a fan of the band, old bootleg recording techniques, or live recordings in general.
This was one of the first - if not the first - CD I bought for myself, using my own (allowance) money! I was probably too young to listen to it, but blink-182 is my favorite band and I listened to this CD so many times that I pretty much memorized all the stupid banter between tracks.
I also liked sharing certain tracks with my friends when they came over...
How did they make these tapes sound so incredible? I'm getting more fidelity out of these tapes than just about any cassette I've ever listened to - even new in the shrink wrap. Amazing.
This is like all of the great shows I couldn't go to in my childhood. Incredible.
Seconded. This was a great read, and led me to a lot of great listening. And some wondering about how far Minutemen would've went if D. Boon hadn't passed so early.
I also think there's a lot to learn from the book about DIY for any startup or community organizer.
Lastly, if you read and you want to learn more about 'The Replacements', 'Trouble Boys', Bob Mehr, is a terrific read.
For those interested, Relisten is another repository of live concert recordings. It skews heavily towards improvisational music, ie jambands, but there's some indie rock on there as well.
Cool site, thanks! it seems to also be backed by archive.org, i wonder if there's a way to move more stuff into that interface. the nirvana performance in the article isn't there for instance.
We landed an update on mobile last week that brought all 4,000 artists with a "collection" onto Relisten. That'll be coming to the web and sonos shortly as well.
We've been discussing the Aadam Jacob's collection with the archivists for some time. It comes with its own unique UX[0] and data constraints so we've been iterating on that and waiting for a critical mass of uploads before tackling it. We're getting closer though.
I agree with most of the sentiment in these comments. Archive and share non-comercially all the things!
[0] it's not "one" artist so it requires some custom UI, it should be unified through a single Aadam Jacob's collection, and it has a unique data path/structure on Archive.org relative to other collections
According to the Wikipedia page, it seems that copies of the archive are stored around the world.
LOCKSS is a decentralized strategy for preservation which includes archival copies at remote sites. It has been in use for a very long time. I feel like preservation via IPFS would introduce quite a bit of risk to the goal.
Yeah, there is some popular misunderstanding about what IPFS is... a lot of people seem to think its essentially free or subsidized distributed cloud storage. But the more you dig into it, the more you realize it's just a fairly inefficient caching system.
LOCKSS looks interesting but it seems like it's exclusively for libraries.
Kind of loosely related to the article. Many years ago someone uploaded to youtube an old video of Neil Young going into a record store and finding a bootleg vinyl of one of his concerts for sale.
I found the video fascinating and thinking about how and who made these bootlegs is a fascinating mystery to me. It would have to someone in the industry with lots of contacts to get it made and distributed.
Yeah, anachronism means 'not belonging to the time period'. If you made a 1980s movie and had the protagonist transfer cassettes to a laptop via USB interface, THAT would be an anachronism.
I think the author meant "old-fashioned" or "obsolete". Though using a cassette deck to read cassettes, geez, what else are you going to do? Build your own using an Arduino?
Tangent idea: musicians should record every live show, and then put it on a streaming service, only for people who bought tickets to the show (possibly for an extra small fee on the ticket). Extra revenue for the artist, and a cool benefit for the fan (the liver performance you attended).
I love going to concerts and I tried pitching this to producers, bands, etc. They just don't care unfortunately.
My mindset was: They already did most of the work, just exporting the audio (that already exists!) would give them extra income. Could be a subscription service, or pay per album, or even for free (it's a marketing channel).
Some bands don't want their live recording out there (multiple reasons: from errors during the live show, or to keep the experience exclusive, or they think some people won't want to go to see them live if they already can listen to it). There is also the aspect of "If we release it for free or in the platform, we can't never make an actual live recording album", which could make some sense.
For years I dreamt about this "Netflix for unreleased live concerts" platform but I couldn't reach anything. Maybe I am really bad seller, and I just needed help from someone with more experience with the industry.
I ended up doing this unofficially for my faovurite artist, with the help of friends and collectors, uploading bootlegs (sometimes amateur recordings, sometimes board sound recording), and catalogued so you can search for all the plays of a particular song, or an album, how many times this song was played, if there was a guest, filter by country, city, year, etc, etc.
There is also the legitimate view that a concert is a physical, ephemeral experience shared by the people in the room on the night. That is it fleeting is part of its beauty, in the same manner as live theater.
Which is not to say no concert should ever be recorded, but I could understand why it wouldn’t be a priority for some artists.
King Gizzard and the Lizard Wizard (yes really) do this, but not just for people who buy tickets to the show. They have 444 concerts up on Archive.org for free to all.
I wonder if a band could put together a live stream concert published to a private stream sent to a movie theater. A bunch of fans of the band could get together and have the concert experience with fellow fans but not have to pay as much as an in-person concert. Movie theaters would have another way to get people in the door.
There was a push in the cinema industry a few years back to get more into live events, concerts and stuff like that, but seems like it didn't really take off like they wanted.
This definitely happens. Last time Dead & Company came to town, it was simulcast in the local movie theater. Tickets to the show were only available on a raffle basis since the venue didn't hold nearly enough people.
Then again, the Dead were also pioneers of permitting and encouraging the bootleg scene.
Fugazi released almost 900 shows on CD in the early 2000’s, costing 5 bucks a piece. Some of them are available on their Bandcamp page these days too https://fugazi.bandcamp.com/.
There was a German startup called Bleecker Street [1] about a decade ago that did exactly that. They toured with artists like Chris Rea, Simple Minds, and Mark Knopfler, tapping directly into the FOH desk at each venue. They would mix the audio live, even adding the ambient noise of the crowd to capture the live feeling.
Right after the show, you could buy fancy looking USB sticks, designed with unique elements of the artists, pre-loaded with the recording of the set you had just heard.
I still have a guitar-shaped USB stick from a Mark Knopfler show at a small venue in a tiny town in southern Germany. Honestly, it’s a far better souvenir than any picture I could have taken.
Mike Doughty used to sell burned CDs of the show at the merch table (afterwards in case anyone was worried he was using some Is Chicago, Is Not Chicago technique to violate the space time continuum) back in the aughts.
It's not just a subscription thing, you can purchase individual shows ala bandcamp too.
But yeah, jam bands have really embraced this more than any other category of artist - it's quite common even among low-mid tier jam bands that every single show ends up on Nugs. These bands are often pretty friendly to recordists too (a recent show I was at has two recordings on the IA as well as the Nugs version. Everyone's happy!)
Phish gives people a code that lets them access the show they attend on livephish.com without a subscription. You can subscribe and get access to all of the shows. I think livephish.com is run by and/or shares the same platform as nugs.net but it's a different subscription.
I think (I could be wrong), that relatively few people would value the recordings from every show on a tour. But, many more people would value somewhat exclusive access to the recording for a show they attended in person.
As someone else mentioned above, with jam bands each performance is unique, and people definitely value getting access to every show. For bands repeating the same set as identically as possible on a tour, not sure how much it matters which performance you listen to. Although some people might be into it, for the "I was there" novelty factor.
This has been done. Peter Gabriel, for example, did this on one of his tours (I think Back to Front, but I’m too lazy to dig it up). The California Guitar Trio also experimented with it.
I’m guessing the fact that it’s not a widespread practice is that the return on investment (and we’re talking strictly the additional costs beyond simply recording the show) didn’t justify the effort.
Yeah, I've been to low double-figure gigs[0] where they were selling soundboard CDs shortly after the gig. If I'm not mistaken, a bunch of them were being done by the same company (but an internet search is unproductive.)
[0] In London, I want to say late 2000s, early 2010s?
Really interesting to see how far this story has spread, I saw it in my Chicago groups first and now it’s popped up in outlets all over the world. I guess it shows how nostalgic we are for an earlier time, both in music and internet culture.
Just browsed through the available Audio collections on the Internet Archive. There's probably more music available than I can listen in my lifetime. No need for audio subscriptions for me.
Its fun to browse and explore and I like the sequential listening experience of the LPs.
Wow, this is very cool, I have been looking for the Phish show at Lounge Ax from November 1990 (opening for Alex Chilton of Big Star) for ages. It was first time I saw them live, and next time they came around they graduated from a 300 person club to a 3000 person ballroom!
This is one of those cases where preservation clashes with ownership. Without this, a lot of those recordings would just disappear.But at the same time, they’re not really his to share.
Hard to draw a clean line here.
This brings back some memories. I often recorded live gigs from the radio. It was the best way to discover new bands and share them with friends at parties. The Internet Archive keeps on giving, what a great project.
I have a friend that used to record a lot of concerts... a surprising number of bands would even let him plug into the panel to do so. IIRC, mostly using a digital tape recorder later transferred to computer over firewire in the late 90s and 00s.
A friend (who has unfortunately passed away) owned, together with his father, just about every opera CD ever made (his father worked in RAI (Radiotelevisione Italiana) and was also an opera fanatic). So, in order to get more opera he used to go to opera performances and record them. When the season opened he would go regularly to e.g. La Scala in Milan, and record the performances. That wasn't actually allowed, but the people there knew him and they knew why he did it (for personal use only), and let him in. To be at the best recording place he would have to get a seat in a section which required that he wore a suit, so he would often wear a smoking - which he actually hated, but he could put a microphone on each collar and get a stereo recording. In the nineties he used a DAT recorder.
Many software companies in the 80s were quiet about their software being bootlegged because it turned out to be great for building a critical mass of users of their software.
Not to demerit the recording, but I felt more nostalgic for the last sentence of the article "Sometimes, the internet is good" than for the musics itself.
Some great commentary in here. I agree all games have loops, so the authors stance against them comes off as a bit confusing.
I think what the author is getting at is when loops are obviosuly "felt" and feel canned.
Strategy games typically have obvious, tight loops. Turn-based games are loop-driven by definition. And so on. This is fine.
But single player games, single player RPGs, etc, can suffer if the loop is really tight and obvious. Early on, you feel "oh, i get it. it's going to be 40 more hours of THIS". Novelty wears off if the loop doesn't really change or evolve. Whereas in turn-based games or strategy-based games, the loop itself IS the game because it progresses as the game state evolves. Nobody complains about the game-loop of chess because that's the game - if you don't like the loop, you don't like the game and the convo ends there, is what is is. But a single-player adventure game, for example, has to do a lot of other stuff right to keep a player incentivized to keep playing the "loop".
Best example would be BG3, where theres clearly a loop - but its massive. Theres a LOT of variation and events between leaving camp and returning later that night. So each "loop" rarely feels samey.
I think the issue is when gameplay loops become transparent and predictable rather than maintaining novelty. A LOT of games suffer for this - the type of game you agree is good, you enjoy it, but put it down after 12 hours for some reason. It's bc of this. The human brain seeks novelty.
if you really want to hear a live performance, there seems to be a nudge from amazon lately.
if your into providing music, dont default to a live version.
some live recordings are good, you can actually hear the music, and the crowd is only noticble between songs.
im thinking that an online archive of live concerts will only steepen this trend.
im just going back to all my mp3 media more often nowadays [bcz i actually bought it mp3 versions, decades ago when you still could]
that way i can hear music, instead of a bunch of people screaming over the music.
now heres somthing else, maybe you remember that concert, you were there, you love hearing you and friends at the concert, maybe people who no longer live are still there. jimmy dean, rock on,
On the afternoon of October 6 1989 I attended a Fugazi concert in Cambridge Mass, probably one of the best live shows I've ever seen.
Last year I casually searched YouTube for some shows I had attended in my youth and this one popped up, recorded by a high school classmate who happened to be there, filming from the side from a balcony or rope rack used by stagehands.
I then went to the Fugazi Live Series archive to see if there was better quality audio (the band recorded most of their shows from the 1980s through the early 2000s, and posted almost all of them in the archive). That October 1989 concert was in the database (https://dischord.com/fugazi_live_series/cambridge-ma-usa-100...), and there were some comments by others who attended, but there was no supporting media other than a single photograph.
So I emailed the address on the website:
Hi, regarding this show someone created a video recording from which the audio can probably be extracted. It's on YouTube here:
I was at the show but not near the stage. It was a memorable show for me and many others according to the description on the official Fugazi archive.
The uploader of the video (my high school classmate, who I believe was a member of the FUs at some point) says:
"In 1989, I went to the First Congregational Church, In Harvard Sq. Cambridge Massachusetts, in hopes of getting into this Fugazi show. Unfortunately, the promoter pre-sold the tickets to people he knew. Thus there was a large crowd of people trying to get in without tickets. Fortunately for me, I had been friends with him before, and he let my girlfriend and I in. Once inside, I asked Guy if I could videotape the show, he told me to go ahead... as long as I sent a copy of the video to Dischord Records... I never did... I just wasn't responsible enough in those days to bother... anyway, here it is, the full show, in all it's faded and low resolution glory... so go ahead, enjoy, and share."
To my surprise, Ian MacKaye responded! While he could extract the audio from YouTube, he wanted to know if I could get in touch with my high school classmate who might still have the original tapes which would have better quality. I did, and my classmate actually got the tapes (from his old girlfriend, who had them in a box in her basement) and shipped them off to Ian. At some point they will be properly digitized and put on the Fugazi archive.
I had a long interview with Ian about archiving which I hope to post on my blog later this summer. To make a long story short, he's amassed a huge collection of materials from Fugazi and his previous bands (most notably Minor Threat) which includes concert audio, studio audio, video, photos, concert flyers, and every piece of fan mail they received at Dischord House from the 1980s to the present day.
He's very systematic about organizing the archives, thanks to interactions with trained archivists including several working for the federal government (he's based in Washington DC).
Minor Threat was before my time, but I've seen Fugazi and The Evens a few times. Ian always puts on a great show. He seems like a really thoughtful, detail oriented guy. I'm not surprised that he keeps organized archives or that he found the time to respond.
My blog is related to my genealogy business, not music. But the story about archiving old audio and video is relevant to the struggle of many genealogists to preserve old media, a frequent topic on the blog:
I used to record concerts I went to with a minidisc player and a small battery powered mic.. I have Beck, Radiohead, Dj Shadow, Kid koala, Q-bert.
Defo fun to listen back to, especially the bullshit my friends and I were saying.
Also there was a shop in Temple Bar Dublin that seemed to specialise in selling bootlegs. They were really expensive, but really good, clearly taken from the sound desk.
There are so many concert recordings of awesome performances that sound like crap because they are audience tapes.
Often before a performance recorded music is played and captured in the audience recordings.
Would it be possible to train a model on an archive of these concert audience recordings of studio recordings paired with the original studio recordings to develop a system to “clean up” audience recordings?
I'm referring to the pre-concert, when they're just playing a mixtape of whatever through the board. Compare studio recording of whatever and the audience recording.
> Jacobs said the majority of the artists he recorded are pleased to have their work preserved. As for copyright concerns, he’s happy to remove recordings if requested, but added that only one or two musicians so far have asked that their material be taken down.
I think the keyword here is "preserved". These are old recordings that cannot realistically be recreated by any other method. AI may reconstruct some parts, but it's still not the real thing. These recordings are time capsules.
One of the concerts I captured in the 90's, lives on as a bootleg which I often see around the scene of this one particularly great live electronic dance band, whose punters have created true value out of the hour and a half of live concert input I managed to record, standing right there front stage and center, with the band looking right at me.
It was a hilarious experience - I expected to get booted out pretty fast, so I held my ground as still as I could, DAT-tape rolling by, shotgun mike held in front of me like it was just normal, as if I belonged there.
The lead singer caught my eye and gave me a wide grin. I survived the concert, it was awesome, but boy was I relieved to have made it home with that DAT - which I of course, proceeded to digitize with my brand new spdf/io ..
The next year the band (who are big and famous, btw) were in the same city and I happened to be around, I got invited backstage to meet the band, participate in a bit of nerdery regarding their live setup and gear and so on, and talk about that recording I'd made.
I'd put it out as a pure bootleg, no questions asked.
Turns out they'd heard it and enjoyed it and came to appreciate the nature of their bootleggers, as avid fans who gave the band themselves something extra to think about in what was then, a burgeoning digital/online universe about to explode.
So, seeing it around, almost 30 years now .. here and there, again and again .. is quite hilarious. Youtube often recommends it to me in my playlist, its just there.
And at a certain spot in the recording, I tell my mate to stop standing so close to me (he was blocking the shottie), and prepare for my ass getting bounced - which never happened, thankfully.
So yeah, I just wanna say, if you personally have the desire to be a recordist, and have a pure purpose in it, I'd say just freakin' go for it.
Record All The Things.
Its good for the Artists, yo. And also their fans. (Its how we get rid of the managers, cough cough..)
However, I do notice that for more uncommon music, the record industry sort it just looks the other way. For example Eminem has tons of really old music on YouTube that I’m sure his lawyers could figure out how to get taken down. But it just stays up.
I would really like music copyright to change within my lifetime. It should realistically be 30 years from first release, and after that it should go straight to the public domain. By then everyone’s made their money. Even Elvis won’t be public domain until like 2050 or 2060. I don’t really think he needs the money right now.
Will there be convenient parking?
Do they have adequate power?
Is the stage big enough?
Do we need to book sound?
Is there a weather contingency?
Where can we sleep?
What time is load in?
What time is sound check?
What form of payment?
How will they be advertising?
Who do we give promotional materials to?
Etc etc. Having someone take care of all this stuff allows us to focus on practicing and recording (which has another long list of questions that need to be addressed).
Not to mention networking and venue access. Put all that stuff together and it's a full time job that artists are poorly equipped to handle.
Or artists that have seen the merit in tolerating it/somewhat encouraging it. I'm a pretty hardcore Nine Inch Nails fan (seen >30 shows).
NINLive.com is a fantastic (unofficial) archive for our community. Close to 2k individual recordings, about 3/4 of all shows they've ever played have at least one recording.
NIN's camp is fully aware, the guy who runs the site has gotten invited to meet the band before. (And NIN has tossed unedited pro-shot tour footage to the fans before to play with, as well as things like directly linking to a fan-compiled concert film for another tour on their own home page).
The process of actually getting in, post-invite, was a bit of a weird experience: Waiting around at the front of the venue, meeting some of his PR folks, walking all the way around the outside to go in the back door to get escorted in. At one point we were given some armbands so we could do what we wanted as if we were regular concert-goers and they turned us loose.
Anyway, as we were walking around that huge place and chatting, one of them (Marcus?) asked me how I got interested in Nine Inch Nails.
And the first thing that came that came out of my mouth was "It is entirely possible that I banned Trent Reznor from IRC 30 years ago."
The response was immediate: "Never tell him that."
Anyhow, the crew that I met were all a bunch of great folks. Wonderful positivity, fun to talk to. 10/10.
---
(Now, you might be wondering why I banned Trent from #nin. That's easy: We banned everyone in that channel who said they were Trent Reznor. There's only one Trent, and these imposters showed up all the time so we did the right thing and got rid of them.
Except... I read an interview with him way back then, where he was asked specifically about IRC. His response was something like "Yeah, I tried IRC once and they banned me right away. Those guys are a bunch of dicks."
Whoops.)
A fun game is “how many lines can he go without saying I or me?” I do not encourage making a drinking game out of it.
At the show, the music was good (of course it was -- I like NIN and have for decades), but the musicality of its performance was also very good. They all played it both with expert precision, and a great deal of passion. The endurance was staggering. And the technicals -- the management of different spaces (3 stages!), the PA, the lights, effects, video projections -- they all combined to alter my perspective of what is possible in a temporary, physical performance space.
I love going to concerts, big and small. This was my 4th NIN show. I've never been to any concert like that before.
---
Anyway, you've already elected to change channels. So let's change channels.
You think Pretty Hate Machine was the embodiment of everything that Trent Reznor ever learned, or performed?
How does Broken fit into that picture? (It's very different, to me.)
How does the period-correct Purest Feeling fit into it? (It's very similar, but the horns are a bit much.)
How do the various Ghosts albums fit in there?
How do the rest of them?
What fits together, and what falls apart?
Please elaborate. While I'm not a musician and I don't have the background to dissect it myself, I do appreciate the elaborations of technical makeups of music when those who can take it apart elect to do so.
---
The dude, Trent Reznor, has been publishing recorded music since 1989. I find the claim that it's all the same to be pretty extraordinary. I think that satisfaction of that claim would require extraordinary proof. (And I welcome that proof.)
The instrumental album "Ghosts I-IV" was released under a Creative Commons BY-NC-SA license, and the music went everywhere - and you can draw a line directly from that choice to the Oscar for the score for The Social Network.
Concert photos, wallpapers, and other photos are still up on Flickr: https://www.flickr.com/photos/nineinchnails/albums
And the NIN camp utilized Vimeo alongside YouTube: https://vimeo.com/ninofficial
Rumor has it that Trent Reznor himself uploaded material to The Pirate Bay, because he didn't like the audio quality of the rips that were already floating around. There are three compilations that appeared, with custom artwork, including at least one exclusive version of a track that hasn't appeared anywhere else.
(p.s. wot up volk)
As an early teen when Broken came out, and I happened to be connected to some people into the 90's emerging industrial scene (not to take away from earlier scenes), NIN has always been a huge inspiration and got me into the grittier side of metal music.
You know, right this second I am listening to a MIDI recreation of the soundtrack to a very obscure German Atari ST puzzle game from '84. Something somebody recreated where I would be surprised if more than 500 people in the world ever heard the original.
Even though you might never learn of it, given the vast number of people out there, it is entirely likely that what you did already touched somebody out there. You do not need to have built a community in order to have done something of significance.
And you're not going to plug yourself I certainly will: Appreciate your work on the NIN Hotline all these years and everything else you've done/added to the community.
> Rumor has it that Trent Reznor himself uploaded material to The Pirate Bay,
You'd certainly know better than I would but I feel like I recall Rob Sheridan confirming that in one of his interviews years later (not that there was really any doubt).
https://www.wired.com/2007/10/trent-reznor-on/
In 2006 there was a message posted by him in the forums that was: "This one is a guilt-free download. (shhhh - I didn’t say that out loud). If you know what I’m talking about, cool."
At the same time a user on TPB named "seed0" uploaded:
- A previously unreleased, professionally produced, expanded DVD version of Closure
- The full Broken movie in DVD quality (which had never leaked - the low-quality leaked versions that had circulated for yeas were missing part of it)
- 3 "The Definitive NIN" collections - which included some things that were difficult to find otherwise. (And today there are official playlists/collections by the same "Definitive NIN" name on the streaming platforms).
Maybe more but those are the most notable things I recall until all the pro-shot concert footage from the Lights in the Sky Tour got released to the fans to play with a few years later - most prominently turned into the "Another Version of the Truth - The Gift".
Not that there was any doubt, and while I don't feel like digging through all the interviews/AMAs I am almost certain that Rob Sheridan (creative director at the time) confirmed years later that the "leaks" were directly from the NIN camp.
Financialization ? Productize, promote, push ?
Many bands (like GD and Phish) specifically note in their rider that venues must allow and provide space for tapers to bring their rigs in.
A sibling comment in this thread pointed out my project Relisten[0], which now has over 4,000 bands who have given explicit permission for people to tape, record, and share their concerts non-commercially. We've been operating our FOSS platform for 12 years, and most of the audio is hosted by Archive.org. I can't tell you how many bands have begged us to add them to our platform.
[0] https://relisten.net (https://github.com/RelistenNet)
(The 4,000 number will be coming to web soon - it's available today on our mobile apps)
Whether the rumor is true or not, I can't confirm. What I can tell you is it's an amazing soundboard quality collection of his work product that I'm still not all the way through exploring after it briefly circulated among fans for a brief moment shortly after his death.
1. http://tonio.lagoule.free.fr/prince_BootsCats_Sab.htm
There was an episode of "What's Happening" when Rerun gets in trouble for bootlegging a Doobie Brothers concert, does anyone remember? It aired when I was a kid and now I somehow still feel guilty when I listen to bootlegs.
All I have left is a very fuzzy memory.
Assuming it’s a band most have heard of I was leaning toward Daft Punk, but maybe the Prodigy?
Daft Punk doesn't have a singer and unless it was a very early show they wouldn't have seen them smile. Most big beat shows wouldn't have a dedicated vocalist. I'd guess Underworld or Prodigy, but lean toward Underworld.
Now I"m thinking, the mention of digital formats doesn't make much sense either ^_^;
Unless you use a crappy smartphone with a bright annoying screen ..
And personally I can record, or enjoy the real moment. But most people who record with their crappy smartphones probably just want to get the virtual recognition after they shared their videos, they were there, "like", great. But no one I know, actually watches shaky crappy smartphone concert recordings.
I used to buy VHS tapes of live Phish recordings from the person at the show. VHS because of the fidelity I guess.
I was a teenager at the last show I was at, and I always envied thise guys.
Edit: or Erasure?
More generally someone on the buying/risk side of a transaction.
to wit: scammer, scheister, player.
(Source: I'm British)
i have a lot of different nationalities partaking of my wilderness lodge, and a lot of the younger english ones use punt/play/burn/scam as equivalent.
i can see how they could merge, considering a colloquial "punt" [rugby/footall] as a maneuver with adverse risk.
I don't know if punter (as in, customer) is related. I suppose buying something is always a bit of a punt to some extent.
Yes it is unfamiliar - it is unlikely that anyone in the UK has accidentally said that.
"i have a lot of different nationalities partaking of my wilderness lodge, and a lot of the younger english ones use punt/play/burn/scam as equivalent."
Given you have a dislike of capitals, I'll hazard a guess at your age (but not tell you). Kids here (UK) don't use words like that, says Granddad! I get a capital G because I say so.
If I had to guess, I've probably replied to a shit AI sigh
Please, get someone who knows about usability or building web UIs to help you!
1. https://www.gdao.org/
2. https://dlr2008.wordpress.com/2014/06/15/on-public-access-to...
3. https://relisten.net/grateful-dead
Clearly this tape stash is worthy of similar treatment. Also of note for live music fans and collectors: Legendary Long Island Radio Station WLIR Live Show Archives:
https://archive.org/search?query=creator%3A%22WLIR%22
https://relisten.net
https://www.kqed.org/arts/13979518/sacramento-music-archive-...
Go out and support your local live music scene.
I still love when one of my live bootlegs of Faith No More comes on with them doing (sometimes mocking) parodies of popular music (their rendition of Nothing Compares to You by Sinead OConnor has been in my head as I type this). When I got to see them in 2010 (I think) they were true to form and played a bunch of short (reinterpretations) covers and it was one of the best aspects of the show. And I still have a Mr Bungle bootleg with them covering Existential Blues by Tom "T-Bone" Stankus (I always thought it was Doctor Demento's Wizard of Oz until just now when I looked it up).
How would you even know about these awesome gems without bootlegs or access to see all their live shows? YouTube is less likely to capture an entire show than a clip, whereas the bootlegs were typically the full show. There are probably areas of the internet where this stuff gets shared and traded, but having it in my local music shop meant everyone had access without requiring special knowledge.
I just did two searches, one Google and one Kagi, and neither turned up the FNM Nothing Compares to You. Who knows how many copies of it exist in the world. If my music library gets nuked, who will even know about it? I think I'm gonna start uploading my bootleg recordings of live shows to IA.
Same in my town. For a 14 yo kid, that was a lot.
[0] https://www.youtube.com/watch?v=jTfSrUThyDk
Now that I think more about it, I must have got the track from a P2P service / network. But I had a bajillion Nirvana bootlegs when I was an adolescent. Thinking of the misnaming phenomenon, the hidden track (from Nevermind) was alternately named either "I Hate Myself and I Want to Die" or "I Love Myself and I Want to Live" on those live performances (after Cobain's suicide). 1990s and no or limited internet, so it was whatever someone decided.
Thanks for surfacing the track so readers can hear it! It's one of my favorites.
I found an archive of the full set that includes the Nothing Compares 2 U track. Seems that they opened the gig with the song [0]. There's a neat story in the link about the show and how this bootleg got around.
[0] https://archive.org/details/bungle1990-05-27.sonyI once bought a VHS recording of a Lemonheads gig after seeing them at the Glastonbury festival, guess it must have been around 1993, and in visual terms it was absolutely unwatchable - the camera wasn't still for a second - but probably pretty representative of what it was like to be there.
EDIT: You weren't kidding. I can't find a cover of it. Please! Share it!
There was a good bbc show of theirs floating around on YouTube. The music is so intense that I feel these quieter pieces give one a chance to catch one’s breath.
Midnight Cowboy was on both StMLt and Angel Dust (which I wasn't allowed to own because of the Explicit Lyrics sticker at first. My father and mother argued about that. Thanks Dad!) What a great track for slowing down. The band wasn't just about heavy and dark tones, they also appreciated and could produce beautiful music. The fulness of the song really overwhelms me when the whole band kicks in.
https://www.youtube.com/watch?v=pVLYa15xCEY
https://news.ycombinator.com/item?id=47768467
Etree (https://www.etree.org/ ) is the longest running torrent site for tapes. It looks like only about 5% of the hundred thousand torrents have any seeders at all. Not sure how reliable requesting a seed is. I’d expect long tail stuff to get “effectively lost”. Versus IA whose purpose and funding is preservation, in addition to sharing.
http://www.thetradersden.org/
https://sugarmegs.org/
http://www.dimeadozen.org/
Thus they are encouraging amateur third parties to pick up some of the archival slack, that style of torrent could outlive IA in case anything happened to them, and it reduces some of their bandwidth costs
No, but that sounds good. :D
The few bands that didn't care or even encouraged it reaped the benefits. I was a huge Ween fan in the 90s and bootlegged a show of theirs myself. Camera and recording devices were allowed and the result was a tremendous amount of live content available online. For some bands this might not matter, but they rarely played the same set list twice and often played songs differently from show to show. In the early internet days, there was more ween content online than you could ever hope to listen to.
They still put a lot of effort sometimes. I saw Dave Chapelle in NYC and they made us put our phones in these pouches which were unsealed on exiting the show.
I was a member of a few tape sharing communities at the turn of the millennium and spent those years digitizing scores of board and bootleg live recordings (APE or FLAC... the great debate). We'd trade our strategies for getting gear into shows, who was working door and board and was cool with what, stories of getting caught. When recorders got small enough, we started sneaking MiniDisc players into venues with microphones down our sleeves for stereo. I've still got a few stacks of those.
Leading up to that, at the dawn of LAME, I was doing the same over on IRC. Everyone with an fserve had a few tracks or albums of their favorite bands, tons local with no other distribution, and you could always message them for more info. There was a lot of love, and I found a lot of great people across the world that way.
When the RIAA crackdowns started, I archived as much as I could but lost everything in the mid-2000s when a Windows upgrade overwrote my external storage. The irony that hundreds of gigs (of both kids) would have survived if I'd put them on tape hasn't eluded me.
https://en.wikipedia.org/wiki/Tape_trading
0: https://www.discogs.com/master/1664187-The-National-Juicy-So...
The Mark, Tom, and Travis show was always a blast to listen to with my friends.
https://en.wikipedia.org/wiki/The_Mark,_Tom,_and_Travis_Show...!)
I also liked sharing certain tracks with my friends when they came over...
This is like all of the great shows I couldn't go to in my childhood. Incredible.
11 chapters about DIY / Punk / Hardcore bands of the 1980s underground scene.
(The audiobook in particular is fun as it's read by musicians influenced by the artists in their respective chapters)
https://en.wikipedia.org/wiki/Our_Band_Could_Be_Your_Life
I also think there's a lot to learn from the book about DIY for any startup or community organizer.
Lastly, if you read and you want to learn more about 'The Replacements', 'Trouble Boys', Bob Mehr, is a terrific read.
The parallels with being in a band and a startup are real. Azerrad says many times in the book that what these bands were doing was entrepreneurial.
https://relisten.net/
We landed an update on mobile last week that brought all 4,000 artists with a "collection" onto Relisten. That'll be coming to the web and sonos shortly as well.
We've been discussing the Aadam Jacob's collection with the archivists for some time. It comes with its own unique UX[0] and data constraints so we've been iterating on that and waiting for a critical mass of uploads before tackling it. We're getting closer though.
I agree with most of the sentiment in these comments. Archive and share non-comercially all the things!
[0] it's not "one" artist so it requires some custom UI, it should be unified through a single Aadam Jacob's collection, and it has a unique data path/structure on Archive.org relative to other collections
I'm wondering though is there any decentralized IPFS or P2P Archive of the entire archive that can be helped with for preservation ?
https://www.wired.com/story/the-internets-most-powerful-arch...
LOCKSS is a decentralized strategy for preservation which includes archival copies at remote sites. It has been in use for a very long time. I feel like preservation via IPFS would introduce quite a bit of risk to the goal.
From a 2016 blog post:
"Do you do backups too, for example to guard against corrupt data getting mirrored across both copies, or accidental deletion?"
John Gonzalez, the author and IA infrastructure lead, replied:
"We have done experiments to confirm that we can back up large portions of our corpus... but this is not a regular practice for us at this time."
https://blog.archive.org/2016/10/25/20000-hard-drives-on-a-m...
LOCKSS looks interesting but it seems like it's exclusively for libraries.
I think this is the video https://www.youtube.com/watch?v=AdOITpaQvZI "This is a part from autobiographical film Neil made in 1972."
I found the video fascinating and thinking about how and who made these bootlegs is a fascinating mystery to me. It would have to someone in the industry with lots of contacts to get it made and distributed.
Anachronistic?
It seems like a complicated way of saying "the tapes were digitized".
I think the author meant "old-fashioned" or "obsolete". Though using a cassette deck to read cassettes, geez, what else are you going to do? Build your own using an Arduino?
My mindset was: They already did most of the work, just exporting the audio (that already exists!) would give them extra income. Could be a subscription service, or pay per album, or even for free (it's a marketing channel).
Some bands don't want their live recording out there (multiple reasons: from errors during the live show, or to keep the experience exclusive, or they think some people won't want to go to see them live if they already can listen to it). There is also the aspect of "If we release it for free or in the platform, we can't never make an actual live recording album", which could make some sense.
For years I dreamt about this "Netflix for unreleased live concerts" platform but I couldn't reach anything. Maybe I am really bad seller, and I just needed help from someone with more experience with the industry.
I ended up doing this unofficially for my faovurite artist, with the help of friends and collectors, uploading bootlegs (sometimes amateur recordings, sometimes board sound recording), and catalogued so you can search for all the plays of a particular song, or an album, how many times this song was played, if there was a guest, filter by country, city, year, etc, etc.
Which is not to say no concert should ever be recorded, but I could understand why it wouldn’t be a priority for some artists.
https://archive.org/details/KingGizzardAndTheLizardWizard
Plenty of other artists have free concert archives at https://archive.org/details/etree
Then again, the Dead were also pioneers of permitting and encouraging the bootleg scene.
(See my comment upthread about Fugazi and the unexpected encounter with Ian MacKaye after I stumbled upon an obscure YouTube recording)
https://news.ycombinator.com/item?id=47769059
Right after the show, you could buy fancy looking USB sticks, designed with unique elements of the artists, pre-loaded with the recording of the set you had just heard.
I still have a guitar-shaped USB stick from a Mark Knopfler show at a small venue in a tiny town in southern Germany. Honestly, it’s a far better souvenir than any picture I could have taken.
[1]: https://web.archive.org/web/20150205231438/http://www.bleeck...
I saw David Byrne last week, during checkout for the ticket I would probably have paid an extra $10 to get access to the recording of that show.
But yeah, jam bands have really embraced this more than any other category of artist - it's quite common even among low-mid tier jam bands that every single show ends up on Nugs. These bands are often pretty friendly to recordists too (a recent show I was at has two recordings on the IA as well as the Nugs version. Everyone's happy!)
This has been done. Peter Gabriel, for example, did this on one of his tours (I think Back to Front, but I’m too lazy to dig it up). The California Guitar Trio also experimented with it.
I’m guessing the fact that it’s not a widespread practice is that the return on investment (and we’re talking strictly the additional costs beyond simply recording the show) didn’t justify the effort.
Yeah, I've been to low double-figure gigs[0] where they were selling soundboard CDs shortly after the gig. If I'm not mistaken, a bunch of them were being done by the same company (but an internet search is unproductive.)
[0] In London, I want to say late 2000s, early 2010s?
https://apnews.com/article/aadam-jacobs-collection-concerts-...
I was pleased to find some "They Might Be Giants" in the archive.
Elf Power Live at Lounge Ax 1998-04-25 https://archive.org/details/ajc01382_elf-power-1998-04-25
Fountains Of Wayne Live at The Vic Theatre 2003-11-19 https://archive.org/details/ajc00691_fountains-of-wayne-2003...
Fugazi Live at State Theatre on 1991-08-06 https://archive.org/details/ajc02237_fugazi1991-08-06.ajcpro...
Godspeed You! Black Emperor Live at Lounge Ax on 1999-09-16 https://archive.org/details/ajc02676_gybe1999-09-16.ajcproje...
Iron & Wine Live at Abbey Pub 2004-07-02 (Late show) https://archive.org/details/ajc01329_iron-wine-2004-07-02.la...
Josh Rouse Live at Schubas Tavern 2004-04-26 https://archive.org/details/ajc01208_josh-rouse-2004-04-26
Midnight Oil Live at Cabaret Metro 1988-04-30 https://archive.org/details/ajc02792_midnightoil1988-04-30
Neutral Milk Hotel Live at Lounge Ax 1997-05-01 https://archive.org/details/ajc00789_neutralmilkhotel1997-05...
OK Go Live at Belmont-Sheffield Music Festival 2003-05-31 https://archive.org/details/ajc01120_ok-go-2003-05-31
Pavement Live at Lounge Ax 1992-06-12 https://archive.org/details/ajc00811_pavement1992-06-12
Polyphonic Spree Live at Metro on 2003-10-07 https://archive.org/details/ajc01050-PolyphonicSpree2003-10-...
Ratatat Live at Abbey Pub 2004-05-14 https://archive.org/details/ajc01220_ratatat-2004-05-14
Rogue Wave Live at Schubas Tavern on 2005-01-30 https://archive.org/details/ajc01227_roguewave2005-01-30.ajc...
Super Furry Animals Live at Abbey Pub 2002-04-19 https://archive.org/details/ajc01144_super-furry-animals-200...
The Decemberists Live at Intonation Fest on 2005-07-17 https://archive.org/details/ajc00642_decemberists2005-07-17....
The Folk Implosion Live at Schubas Tavern 2000-02-29 (Late show) https://archive.org/details/ajc00963_folk_implosion_2000-02-...
The Shins Live at Schubas Tavern 2001-08-24 https://archive.org/details/ajc01131_the_shins_2001-08-24
https://dischord.com/fugazi_live_series
I think what the author is getting at is when loops are obviosuly "felt" and feel canned.
Strategy games typically have obvious, tight loops. Turn-based games are loop-driven by definition. And so on. This is fine.
But single player games, single player RPGs, etc, can suffer if the loop is really tight and obvious. Early on, you feel "oh, i get it. it's going to be 40 more hours of THIS". Novelty wears off if the loop doesn't really change or evolve. Whereas in turn-based games or strategy-based games, the loop itself IS the game because it progresses as the game state evolves. Nobody complains about the game-loop of chess because that's the game - if you don't like the loop, you don't like the game and the convo ends there, is what is is. But a single-player adventure game, for example, has to do a lot of other stuff right to keep a player incentivized to keep playing the "loop".
Best example would be BG3, where theres clearly a loop - but its massive. Theres a LOT of variation and events between leaving camp and returning later that night. So each "loop" rarely feels samey.
I think the issue is when gameplay loops become transparent and predictable rather than maintaining novelty. A LOT of games suffer for this - the type of game you agree is good, you enjoy it, but put it down after 12 hours for some reason. It's bc of this. The human brain seeks novelty.
https://news.ycombinator.com/item?id=47764164
"Don't download this song (Don't do it, no, no) Even Lars Ulrich knows it's wrong (You can just ask him)"
(Just being snarky btw lol)
if your into providing music, dont default to a live version.
some live recordings are good, you can actually hear the music, and the crowd is only noticble between songs.
im thinking that an online archive of live concerts will only steepen this trend.
im just going back to all my mp3 media more often nowadays [bcz i actually bought it mp3 versions, decades ago when you still could]
that way i can hear music, instead of a bunch of people screaming over the music.
now heres somthing else, maybe you remember that concert, you were there, you love hearing you and friends at the concert, maybe people who no longer live are still there. jimmy dean, rock on,
Last year I casually searched YouTube for some shows I had attended in my youth and this one popped up, recorded by a high school classmate who happened to be there, filming from the side from a balcony or rope rack used by stagehands.
I then went to the Fugazi Live Series archive to see if there was better quality audio (the band recorded most of their shows from the 1980s through the early 2000s, and posted almost all of them in the archive). That October 1989 concert was in the database (https://dischord.com/fugazi_live_series/cambridge-ma-usa-100...), and there were some comments by others who attended, but there was no supporting media other than a single photograph.
So I emailed the address on the website:
Hi, regarding this show someone created a video recording from which the audio can probably be extracted. It's on YouTube here:
https://youtu.be/0XS3QD2cddo?si=1TM9PglNv-Rlr98w
I was at the show but not near the stage. It was a memorable show for me and many others according to the description on the official Fugazi archive.
The uploader of the video (my high school classmate, who I believe was a member of the FUs at some point) says:
"In 1989, I went to the First Congregational Church, In Harvard Sq. Cambridge Massachusetts, in hopes of getting into this Fugazi show. Unfortunately, the promoter pre-sold the tickets to people he knew. Thus there was a large crowd of people trying to get in without tickets. Fortunately for me, I had been friends with him before, and he let my girlfriend and I in. Once inside, I asked Guy if I could videotape the show, he told me to go ahead... as long as I sent a copy of the video to Dischord Records... I never did... I just wasn't responsible enough in those days to bother... anyway, here it is, the full show, in all it's faded and low resolution glory... so go ahead, enjoy, and share."
To my surprise, Ian MacKaye responded! While he could extract the audio from YouTube, he wanted to know if I could get in touch with my high school classmate who might still have the original tapes which would have better quality. I did, and my classmate actually got the tapes (from his old girlfriend, who had them in a box in her basement) and shipped them off to Ian. At some point they will be properly digitized and put on the Fugazi archive.
I had a long interview with Ian about archiving which I hope to post on my blog later this summer. To make a long story short, he's amassed a huge collection of materials from Fugazi and his previous bands (most notably Minor Threat) which includes concert audio, studio audio, video, photos, concert flyers, and every piece of fan mail they received at Dischord House from the 1980s to the present day.
He's very systematic about organizing the archives, thanks to interactions with trained archivists including several working for the federal government (he's based in Washington DC).
Minor Threat was before my time, but I've seen Fugazi and The Evens a few times. Ian always puts on a great show. He seems like a really thoughtful, detail oriented guy. I'm not surprised that he keeps organized archives or that he found the time to respond.
https://easygenie.org/search?q=media&options%5Bprefix%5D=las...
Also there was a shop in Temple Bar Dublin that seemed to specialise in selling bootlegs. They were really expensive, but really good, clearly taken from the sound desk.
Often before a performance recorded music is played and captured in the audience recordings.
Would it be possible to train a model on an archive of these concert audience recordings of studio recordings paired with the original studio recordings to develop a system to “clean up” audience recordings?
This is what the internet is for.
THANK YOU.
These are dangerous words to use for an archive site for material still protected under copyright.
101% chance Metallica did this
> Jacobs said the majority of the artists he recorded are pleased to have their work preserved. As for copyright concerns, he’s happy to remove recordings if requested, but added that only one or two musicians so far have asked that their material be taken down.
I think the keyword here is "preserved". These are old recordings that cannot realistically be recreated by any other method. AI may reconstruct some parts, but it's still not the real thing. These recordings are time capsules.