Michael Hedges - Somerville Theatre, Somerville, MA, 11-12-1997

Here's a concert by the fantastic and underrated guitarist Michael Hedges. Guest poster Fabio from Rio was instrumental in having this album get posted. He's the one who found the video of this and suggested that we turn it into an audio album. He also has an interesting personal story about Hedges, so I've asked him to do the write-up and share that story. Take it away, Fabio:

It's been almost 30 years since we lost one of the greatest guitarists of the last century in a fatal car crash on a slippery road near Mendocino, CA, on December 2, 1997. It is a pity that so many people have never heard of him or his music. Hedges was not only a remarkable guitar player, but also a hugely talented composer and singer. He practically reinvented acoustic guitar playing, and many of his techniques and innovations have since been embraced and incorporated by guitarists all over the world. So, it is about time that more of Michael Hedges' music found its way onto the Albums That Should Exist blog, and this - his last known recorded concert, just weeks before his death - seems like a good place to start!

I saw Hedges live once, during his only visit to Rio, Brazil, in 1996, about a year before his untimely death. He performed in a small underground bar at a hotel near Copacabana Beach. By then, I had only recently been introduced to his music by my brother, who is also a guitarist. There were perhaps 40 people in the tiny venue, and we were seated at a table right next to Hedges. If I had stretched out my arm, I could literally have grabbed his leg!

After the concert, we and two other guys stuck around at the bar. Before long, Hedges — drinking something that looked like an almond milk power drink — showed up and started chatting with us. He talked to us for what seemed like ages, as if we were old childhood friends. He answered our questions, accepted some CDs of Brazilian music (apologizing that he had nothing from his side to give us in return), and even tuned an acoustic guitar to one of his signature tunings, showing us how to play some of his licks. It was basically an impromptu 15-minute masterclass! That gives you an idea of what a great guy he was.

But that was a different concert, and unfortunately it wasn't recorded. (At the time, I didn't tape the concerts I attended.) Here, about a year later, we have a good example of one of his typical late-period concerts. It consists of original instrumental pieces and songs he sang himself, some excellent covers, the occasional oddity (such as the recitations of "Jabberwocky" and "Oklahoma," and the brief, jokey "Free Bird" rendition that precedes "All Along the Watchtower"), and an overall wonderfully relaxed atmosphere, with plenty of laughs from the audience.

Hopefully, we'll have more Hedges here at ATSE soon. Paul and I have compiled a great collection of almost all the live covers performed by Hedges into a four-volume set, which we'll be sharing soon. And I have around 50 of his live concerts in my collection, so there should be plenty more to come eventually, if there's interest.

---

Thank you, Fabio. The only that I'd want to add to that is some information about the audio editing. The video sounded pretty good at first listen, but it turned out it need a lot of work. There was a lot of hiss, so I ran all the songs through the MVSEP program to get rid of most of that. The vocals during the talking bits didn't sound good either, so I ran all of those through the Adobe vocal enhancer. I also ran all the songs through MVSEP again to improve the balance between the lead vocals and the instruments. On top of all that, it turns out the audience was very quiet during the songs, except there was a LOT of coughing. Pretty much every song had at least one cough, sometimes more. So I had to remove those one by one. There might be a couple that I've missed, but it's way better than before.

So ultimately, this was essentially sounding like an audience boot at first, given that it was a fan-recorded video instead of a professional one. But after all those edits, I believe this sounds as good as most soundboard boots. 

This album is an hour and 45 minutes long.

01 Aerial Boundaries [Instrumental] (Michael Hedges)
02 While My Guitar Gently Weeps (Michael Hedges)
03 talk (Michael Hedges)
04 Jitterboogie [Instrumental] (Michael Hedges)
05 Baal T'shuvah [Instrumental] (Michael Hedges)
06 Ragamuffin [Instrumental] (Michael Hedges)
07 talk (Michael Hedges)
08 Rickover's Dream [Instrumental] (Michael Hedges)
09 Free Swinging Soul (Michael Hedges)
10 Rough Wind in Oklahoma (Michael Hedges)
11 talk (Michael Hedges)
12 Silent Anticipations [Instrumental] (Michael Hedges)
13 talk (Michael Hedges)
14 Confortably Numb (Michael Hedges)
15 talk (Michael Hedges)
16 Arrowhead [Instrumental] (Michael Hedges)
17 talk (Michael Hedges)
18 Shell Shock Venus (Michael Hedges)
19 talk (Michael Hedges)
20 Because It's There [Instrumental] (Michael Hedges)
21 talk (Michael Hedges)
22 Ritual Dance [Instrumental] (Michael Hedges)
23 talk (Michael Hedges)
24 Like a Rolling Stone (Michael Hedges)
25 Jabberwocky (Michael Hedges)
26 The Rootwitch [Instrumental] (Michael Hedges)
27 talk (Michael Hedges)
28 Gimme Shelter (Michael Hedges)
29 Oklahoma (Michael Hedges)
30 talk (Michael Hedges)
31 Free Bird [Snippet] (Michael Hedges)
32 All Along the Watchtower (Michael Hedges)
33 talk (Michael Hedges)
34 No Expectations (Michael Hedges)

https://pixeldrain.com/u/41bkFHJp

alternate:

https://bestfile.io/ehlRocIc4H0dw9p/file 

There was a lot of difficulty making this cover image. Technically, it's a screenshot taken from this exact concert. However, the footage was very low-res. So using Gemini, there was some pretty creative filling in of details to get this result. But this is how he would have really looked, with that harp guitar (for a portion of the concert), those clothes, and so on. Even for his helmet, because the screenshot was dark and murky there, I relied on a different photo of the custom-made, strange, beat-up helmet (that worked with his microphone) he was using at that time to make sure it was accurate.

Tim Hardin - Troubadour, Los Angeles, CA, 2-2-1970

Singer-songwriter Tim Hardin made some great music in the late 1960s and early 1970s, and some of the songs he wrote then are classics. But there are very few worthy live recordings of him from that era. I found a decent audience bootleg and significantly improved the sound quality.

At the time of this concert, from a distance, Hardin's music career seemed to be going well. He'd released a few albums that had gotten a lot of critical praise. In late 1969, he'd even had what would turn out to be his only hit single, with "Simple Song of Freedom," a song written by Bobby Darin. (Darin previously had a hit song written by Hardin, "If I Were a Carpenter.) But Hardin was a mess. His biggest problem was that he was addicted to heroin. In 1969, he went to a rehab clinic to try to get clean, but that didn't work. He also suffered from stage fright. He rarely performed live, and when he did he was erratic. 

So we're lucky to have any bootleg recording from this time period at all. There is a nice recording of him playing with a band at the Woodstock Festival in 1969, and there's a good official live album released in 1968 called "Tim Hardin 3: Live in Concert." But other than that, this is the only other recording I know from this time period. As I mentioned above, it's an audience bootleg, with merely decent sound quality. But luckily it's a solo acoustic performance, which is easier to record than full band performances. 

I did my usual audio editing tricks to improve this, using the program MVSEP. Boosting the lead vocals in the mix helped a lot. So did getting rid of hiss. But probably the biggest improvement was using Adobe's vocal enhancer to make his banter between songs more understandable (though sometimes he still mumbles and can't be heard well). 

This concert features a guest appearance by Doug Kershaw. Kershaw had a country hit with the song "Louisiana Man" back in 1961. It got a lot of cover versions after that and became a minor classic. He performed that song in the middle of this set with Hardin.

The music here is unreleased. The sound quality is better, and worthy, in my opinion, but it still has its flaws. But I think it's a lot better than previous versions of this recording. 

01 talk (Tim Hardin)
02 Reason to Believe (Tim Hardin)
03 talk (Tim Hardin)
04 Red Balloon (Tim Hardin)
05 Moonshiner (Tim Hardin)
06 talk (Tim Hardin)
07 Simple Song of Freedom (Tim Hardin)
08 talk (Tim Hardin)
09 Louisiana Man (Tim Hardin & Doug Kershaw)
10 talk (Tim Hardin)
11 Nobody Knows You When You're Down and Out (Tim Hardin)
12 talk (Tim Hardin)
13 Don't Make Promises (Tim Hardin)
14 Till We Meet Again (Tim Hardin)
15 talk (Tim Hardin)
16 Once Touched by Flame (Tim Hardin)

https://pixeldrain.com/u/hhg7Ut6K

alternate: 

https://bestfile.io/en/b5oKQhpNqvvelgT/file

The cover image is from an appearance on a BBC TV show on September 1, 1970. (I wish I had the audio from that, but I don't). The original was in black and white, but I colorized it with the help of the Ask Gemini program. 

David Bowie with John Hutchinson - The Mercury Demos - Beckenham Arts Lab, Chelsea, Britain, 2-2-1969

Here's another really interesting recording from David Bowie's very early career. It has been officially released, but I've made some sound quality improvements that I think justifies me posting it here.

Up until the time of this recording in very early 1969, Bowie's music career had been a mostly unsuccessful struggle. After a couple of years of failed singles, he'd released an album in 1967, the cleverly titled "David Bowie," but it failed to even reach the charts. Its combination of pop and music hall styles was very out of sync with the times. Then, as he wrote new songs, he began changing his style. The key song that began to turn him into a star with "Space Oddity," the first song here. It would get released as a single in July 1969, six months after this recording, and it would reach the Top Five in the British singles chart. That would lead to the release of another album later in 1969, which has variously been released under the names "Space Oddity," "David Bowie," and "Man of Words/Man of Music." Many of the songs performed here would eventually appear on that album.

At the time of this recording, Bowie wasn't entirely sure what he was doing as public performer, and was searching for a creative direction. He was part of a musical trio called Feathers with Hermione Farthingale (his girlfriend at the time) and John Hutchinson. They combined acoustic music with mime, poetry, and theatrical presentation. But when he had a chance to be an opening act on a February and March 1969 tour supporting T. Rex, he actually performed as a mime! Feathers never recorded or released any music, and only performed a few concerts in late 1968 and early 1969 before breaking up, due to Farthingale breaking up romantically with Bowie and taking part in filming a movie overseas.

At the time of this recording, Bowie didn't have a record contract. He'd met an A&R executive working for Mercury Records who told him to submit a tape of songs to his boss, Bob Reno. This is that tape. It must have been successful, because when "Space Oddity" was released as a single some months later, it came out on Mercury Records. I think the idea here was to make a recording as the Feathers trio. However, Farthingale was overseas, so it's just Bowie and Hutchinson on the recording here. Both of them sang and played guitars, but Bowie was clearly the dominant creative force, with the songs written by him, except for two covers, in the cases of "Love Song" and "Life Is a Circus." But Fathingale gets discussed in the banter between songs. And two songs, "An Occasional Dream" and "Letter to Hermione," are very clearly about her.

This recording was first released in early 2019 as the stand alone album "The Mercury Demos." Then, later in 2019, it was included as part of the "Conversation Piece" box set. Normally, I don't post albums that are officially released on my blog unless I make some significant change. In this case, I think I did that with the banter. The officially released version seems to have been released "as is," meaning there was no attempt to improve the sound quality. The songs themselves sound great, and the official version is much better than the bootleg version that existed before. But the copious banter between songs sounded pretty bad. The voices were murky, and there was a lot of background noise, like the sounds of bumping, clicking, rustling, and so forth. At one point, Bowie even noticed how a piano being played in an adjacent apartment could be faintly heard.

So I did my best to clean all that up. Using the MVSEP program, I separated the vocals from everything else for all the talking tracks. Then I got rid of almost all of that "everything else," except if it was the sound of guitar tuning or noodling or something like that. But all the bumping, clicking and rustling went into the trash. Then I ran all the vocal parts through Adobe's vocal enhancer, which does a great job bringing clarity to non-singing vocals. I think the result is a huge improvement. Frankly, the official version should have done this. But I guess 2019 was right before advances in AI led to advances in audio editing technology.

I think this is a must have for any fan of Bowie's early career. And, personally, I like his late 1960s and early 1970s music the best (although his career had many high points). 

This album is 41 minutes long.

01 talk (David Bowie with John Hutchinson)
02 Space Oddity (David Bowie with John Hutchinson)
03 talk (David Bowie with John Hutchinson)
04 Janine (David Bowie with John Hutchinson)
05 talk (David Bowie with John Hutchinson)
06 An Occasional Dream (David Bowie with John Hutchinson)
07 talk (David Bowie with John Hutchinson)
08 Conversation Piece (David Bowie with John Hutchinson)
09 talk (David Bowie with John Hutchinson)
10 Ching-a-Ling (David Bowie with John Hutchinson)
11 talk (David Bowie with John Hutchinson)
12 Letter to Hermione (David Bowie with John Hutchinson)
13 talk (David Bowie with John Hutchinson)
14 Lover to the Dawn [Early Version of Cygnet Committee] (David Bowie with John Hutchinson)
15 talk (David Bowie with John Hutchinson)
16 Love Song (David Bowie with John Hutchinson)
17 talk (David Bowie with John Hutchinson)
18 When I'm Five (David Bowie with John Hutchinson)
19 talk (David Bowie with John Hutchinson)
20 Life Is a Circus (David Bowie with John Hutchinson)
21 talk (David Bowie with John Hutchinson) 

https://pixeldrain.com/u/TAZahYJm

alternate:

https://bestfile.io/en/M1MfjRfFifCRQdv/file

The cover image is based on the official cover. That is based on what apparently is the cover of the original 1969 tape containing this music. I think that was written by Bowie, but I'm not entirely sure. However, that just had the song list and the text below and to the side. I wanted some vital information on the cover, so I added the text at the top, hopefully in a similar style to the rest.

Newport Folk Festival, Fort Adams State Park, Newport, RI, 8-3-2008 - Willy Mason

Here's another album from the 2008 Newport Folk Festival. This time, it's a set by singer-songwriter Willy Mason.

I don't know much about Mason. Here's his Wikipedia entry intro, which doesn't say much:

"Willy Mason (born November 21, 1984) is an American singer-songwriter. He grew up on Martha's Vineyard in a musical family and began performing and recording in the early 2000s. Mason has performed in the United Kingdom and later toured internationally as both a solo artist and collaborator." 

Here's his full entry:

https://en.wikipedia.org/wiki/Willy_Mason 

At the time of this concert, he had released two studio albums, "Where the Humans Eat" in 2004 and "If the Ocean Gets Rough" in 2007. All the songs performed here are original from those albums. In the years since this concert until now (as I write this in 2026), he has only released two more albums.

This album is 24 minutes long.

01 talk (Willy Mason)
02 Show Me the Way to Go Home (Willy Mason)
03 talk (Willy Mason)
04 Pickup Truck (Willy Mason)
05 Simple Town (Willy Mason)
06 Live It Up (Willy Mason)
07 Riptide (Willy Mason)
08 talk (Willy Mason)
09 Restless Fugitive (Willy Mason)

https://pixeldrain.com/u/Byrj2kJS

alternate:

https://bestfile.io/en/b40L2vhm4H0Nus8/file

The cover image is from this exact concert. 

John Hiatt & Lyle Lovett - Capitol Theatre, Port Chester, NY, 4-30-2015

Here's another great concert from the April 2026 Port Chester soundboard bootleg leak. This one features John Hiatt and Lyle Lovett. But it's not a split bill where one of them played a set and then the other one did. Instead, both of them stayed on stage the entire time, frequently helping out on each others' songs. It was just the two of them on stage with their acoustic guitars.

Prior to getting this concert ready for posting, I had no idea how frequently Hiatt and Lovett have collaborated musically. They never put out an album together, so I'd missed it. But they're toured together like this almost every year since 2008, at least. And they've done it again this year as I write this in 2026.

As usual with these Port Chester boots, the sound is in mono. But other than that, the quality is excellent. 

This album is two hours and six minutes long.

01 talk (John Hiatt & Lyle Lovett)
02 Lift Up Every Stone (John Hiatt)
03 talk (John Hiatt & Lyle Lovett)
04 Church (Lyle Lovett)
05 talk (John Hiatt & Lyle Lovett)
06 Buffalo River Home (John Hiatt)
07 talk (John Hiatt & Lyle Lovett)
08 Whooping Crane (Lyle Lovett)
09 talk (John Hiatt)
10 Marlene (John Hiatt)
11 talk (John Hiatt & Lyle Lovett)
12 Sonja (Lyle Lovett)
13 talk (John Hiatt)
14 Crossing Muddy Water (John Hiatt)
15 White Boy Lost in the Blues (Lyle Lovett)
16 talk (John Hiatt & Lyle Lovett)
17 Master of Disaster (John Hiatt)
18 talk (Lyle Lovett)
19 All Downhill (Lyle Lovett)
20 talk (John Hiatt & Lyle Lovett)
21 Real Fine Love (John Hiatt)
22 She's No Lady (Lyle Lovett)
23 talk (John Hiatt & Lyle Lovett)
24 Feels like Rain (John Hiatt)
25 Fiona (Lyle Lovett)
26 talk (John Hiatt & Lyle Lovett)
27 Thing Called Love (John Hiatt & Lyle Lovett)
28 L.A. County (Lyle Lovett)
29 talk (John Hiatt & Lyle Lovett)
30 Perfectly Good Guitar (John Hiatt & Lyle Lovett)
31 If I Had a Boat (Lyle Lovett)
32 Have a Little Faith in Me (John Hiatt)
33 My Baby Don't Tolerate (Lyle Lovett)
34 talk (John Hiatt & Lyle Lovett)
35 Slow Turning (John Hiatt)
36 talk (John Hiatt & Lyle Lovett)
37 Step Inside This House [Step Inside My House] (Lyle Lovett)

https://pixeldrain.com/u/GHdTJkJw 

alternate:

https://bestfile.io/vZm69d6OKy7Mzkp/file

The cover image is actually a composite of two photos. Both photos were taken at the Ulster Performing Arts Center in Kingston, New York, on May 3, 2015, probably within moments of each other. In one, Lovett's head looked good, but Hiatt's didn't. In the other, it was the opposite. So I used the Lovett one primarily, but pasted in the better head for Hiatt. 

Newport Folk Festival, Fort Adams State Park, Newport, RI, 8-2-2008 - Trey Anastasio

Here's another album from the 2008 Newport Folk Festival. This time, it's a set by Trey Anastasio. It's the last one I am posting from August 2, 2008. For my purposes, that was the first day of the festival, and I have a similar number from the second day. However, there actually were a few performances from August 1st. It's just that I don't have the music from any of those.

Trey Anastasio is the lead singer, lead guitarist, and main songwriter for the band Phish. Up until the time of this concert, Anastasio spent most of his time with Phish. They released 11 studio albums up until 2008. But he also released six solo studio albums in that time. However, he rarely performed concerts as a solo act. For instance, according to the setlist.fm database, he did no more than four solo concert appearances in any year up to and including 2008. So this was a pretty rare solo acoustic concert for him.

Here is his Wikipedia entry:

https://en.wikipedia.org/wiki/Trey_Anastasio 

He mostly played Phish songs here. But five songs, "Let Me Lie," "If I Could Be a Sailor," "Sleep Again," "Peggy," and "Shine," were from solo projects. Two of those,  "If I Could Be a Sailor" and "Peggy," were performed in public for the first time at this concert. 

This album is 55 minutes long.

01 Brian and Robert (Trey Anastasio)
02 Farmhouse (Trey Anastasio)
03 talk (Trey Anastasio)
04 Water in the Sky (Trey Anastasio)
05 Let Me Lie (Trey Anastasio)
06 Bouncing Around the Room (Trey Anastasio)
07 Heavy Things (Trey Anastasio)
08 talk (Trey Anastasio)
09 If I Could be a Sailor (Trey Anastasio)
10 Mountains in the Mist (Trey Anastasio)
11 Sleep Again (Trey Anastasio)
12 Back on the Train (Trey Anastasio)
13 Peggy (Trey Anastasio)
14 Waste (Trey Anastasio)
15 Shine (Trey Anastasio)
16 Bathtub Gin (Trey Anastasio)
17 Wilson (Trey Anastasio)
18 Sample in a Jar (Trey Anastasio)
19 Chalk Dust Torture (Trey Anastasio)

https://pixeldrain.com/u/72RK7mZs

alternate:

https://bestfile.io/en/pZWVAmldtVUnRpn/file

The cover image is from this exact concert. 

Newport Folk Festival, Fort Adams State Park, Newport, RI, 8-2-2008 - Richie Havens

Here's another album from the 2008 Newport Folk Festival. This time, it's a set by Richie Havens.

The presence of Havens at this festival was a musical reminder of the festival's long history. He'd previously performed in the 1965, 1966, and 1968 editions of the festival. 

This time, he performed mostly in solo acoustic mode, as was his usual style.

This album is 42 minutes long.

01 talk (Richie Havens)
02 All Along the Watchtower (Richie Havens)
03 Paradise (Richie Havens)
04 Dreaming Way Down Deep (Richie Havens)
05 My Love Is Alive (Richie Havens)
06 Woodstock (Richie Havens)
07 Lives in the Balance (Richie Havens)
08 Freedom (Richie Havens)
09 talk (Richie Havens)
10 Maggie's Farm - Won't Get Fooled Again (Richie Havens)

https://pixeldrain.com/u/f8GafBYf

alternate: 

https://bestfile.io/4kJabR8p6iq5AzH/file

The cover image is from this exact concert. 

Newport Folk Festival, Fort Adams State Park, Newport, RI, 8-2-2008 - Jim James

Here's another album from the 2008 Newport Folk Festival. This time, it's a set by Jim James. He's the lead singer and main songwriter for the band My Morning Jacket.

At the time of this festival, James hadn't put out any solo albums yet. He'd put out a solo EP of cover songs in 2009, though, and then the first of several solo albums starting in 2013. So, not surprisingly, he played all My Morning Jacket songs, with the exception of "When You Are Who You Are."

Here's his Wikipedia page:

https://en.wikipedia.org/wiki/Jim_James

This album is an hour and four minutes long.

01 Tonight I Want to Celebrate with You (Jim James)
02 Sec Walkin (Jim James)
03 It Beats 4 U (Jim James)
04 Stage Banter (Jim James)
05 Wonderful [The Way I Feel] (Jim James with M. Ward)
06 talk (Jim James with M. Ward)
07 Golden (Jim James with M. Ward)
08 Look at You (Jim James with M. Ward)
09 Librarian (Jim James)
10 Bermuda Highway (Jim James)
11 The Way that He Sings (Jim James)
12 What a Wonderful Man (Jim James)
13 When You Are Who You Are (Jim James)
14 Hopefully (Jim James)
15 Smokin from Shootin (Jim James)
16 Gideon (Jim James)
17 Anytime (Jim James)

https://pixeldrain.com/u/jkpNG9XX

alternate:

https://bestfile.io/en/Z5Ia1VneNviqWrg/file

The cover image is from this exact concert.

Al Stewart - Medicine Ball Caravan, Charlton Park, Bishopsbourn, Britain, 8-31-1970

This is an extraordinary concert recording if you're an Al Stewart fan. But even if you're not, you should read this write-up, because this hopefully is the start of something really big and great in the world of bootleg recordings. So let me explain that first, and then I'll talk about this specific recording.

Last week (as I write this in mid-September 2026), I posted a 1970 Jefferson Airplane concert, which had never been publicly available with that sound quality before. I mentioned that it sounded like that could be the start of a really big leak of hundreds of high quality bootlegs from long ago. Since then, I've learned a lot more about this. I want to share this with you, because it has the potential to be the best news when it comes to bootlegs in decades!

The key to all this is a person named Bob Matthews. He was a key member of the support staff for the Grateful Dead. He went to high school with band member Bob Weir, and because the band's first roadie, back in 1966. From all the way back then, he got involved with recording the band. He stayed associated with the Dead in various roles all the way through the mid-1980s. I guess around that time he drifted away and got involved with some telecommunications job. He died in 2021.

But he was not just involved with the Dead; he had musical links to many other bands. For instance, he was a sound engineer on various Dead albums from "Aoxomoxoa" in 1969 to "Go to Heaven" in 1980, but he also worked on albums by New Riders of the Purple Sage, Hot Tuna, Jerry Garcia, Robert Hunter, Stoneground, Grace Slick, Paul Kantner, Barry Melton, and others. He even was a bass player in New Riders of the Purple Sage in 1969. He also had a key role in a company called Alembic, which started in 1969 and made high-end electronic equipment and musical instruments for many famous musicians. In short, this is someone who was a very connected insider in the music industry.

Recently, another person with many long-time links to the Dead, Charlie Miller, was given custody of Matthews' bootleg recordings, which Miller says number about 1,000 concerts. A lot of those are of the Dead, but apparently a majority are not. Miller is working with some other people to release all of this material to the public for free. He started a few weeks ago, and so far he has released about 20 recordings. If you want to see these as they come out, he has a Facebook page where he is posting download links called "Charlie Miller's Google Drive Links." I've noticed not everything he releases comes out there, actually, but most do. Some others are getting posted at the Guitars101 bootleg sharing site.

So far, here are the musical acts that he has released bootlegs for: the Grateful Dead, the Joy of Cooking, Jefferson Airplane, Dan Hicks and His Hot Licks, Mickey Hart, the Faces, Al Stewart (this recording), Stoneground, Mott the Hoople, and the Youngbloods. Most of them so far are from 1970, and a lot of them are from a small Bay Area concert venue called the Family Dog on the Great Highway, which was only in existence from 1969 to 1970. We don't know what else Miller has and plans on releasing. He's only dropped a few hints. But I've looked at the musical acts that played at the Family Dog on the Great Highway at that time, and it's an intriguing list that includes multiple shows by the Kinks, the Velvet Underground, the Steve Miller Band, Canned Heat, Big Brother and the Holding Company (with Janis Joplin), It's a Beautiful Day, Elvin Bishop, New Riders of the Purple Sage, Commander Cody, Albert Collins, Quicksilver Messenger Service, and many, many more. The idea of getting pristine, previously unknown soundboard concert recordings from the likes of these bands after all this time boggles my mind! 

And that's just one possible lead. Probably, most of the music is related to the Dead and the San Francisco Bay Area music scene. But a lot of bands from all over the world passed through there. One thing I found out is that Matthews was involved in the recording of the infamous Altamont festival in 1969, headlined by the Rolling Stones, Crosby, Stills, Nash and Young, the Grateful Dead, Jefferson Airplane, and others. He is said to have had soundboard recordings of that entire festival, which he would sometimes play for visitors to his house. A few years ago, a soundboard of the Flying Burritos Bros. set from that festival somehow became available. Perhaps it was an early leak from the Matthews trove?

So if you like music from the late 1960s until the mid-1980s, the time Matthews was involved in the music industry, hold on to your hats. Hopefully, there will be a steady release of hundreds of recordings in the months and years to come. I'm going to try to select the ones that interest me the most, make further edits if need be, and post them here. Normally, previously unknown recordings of this sound quality from this era are made public once in a blue moon. But so far, Charlie Miller seems to be releasing something new every couple of days!

This Al Stewart concert was part of a 1970 rock festival in England called the "Medicine Ball Caravan." In fact, there was an entire tour by that name that year. There's a long, tangled story about the tour and this concert in it, so I'll save that for the write-up of the next album from it.

Since this write-up is getting too long already, let me finally focus on this recording. The sound quality is fantastic, which is mind-blowing for its era. I'm pretty sure this now becomes the earliest publicly available concert recording by Stewart period, unless you count short radio and TV performances. In 2022, Stewart released a massive box set called "The Admiralty Lights," which was over 50 CDs in size. I'm sure this would have been included had Stewart had access to it back in 2022. That indicates to me that Matthews sat on his trove of recordings until his death, so nobody really knows what other treasures may be hidden in there, other than maybe Charlie Miller and a few people working with him now to get them to the public.

But this recording had a noticeable flaw, which was that there was almost no audible crowd noise. As I've said in other write-ups, this is a common problem for soundboards when they record everything on stage very well, but at the expense of capturing cheering from the crowd. Luckily, there was a little crowd noise. So I used the MVSEP program on all the songs to bring it up to a reasonable level.

This album is 33 minutes long. 

01 Electric Los Angeles Sunset (Al Stewart)
02 talk (Al Stewart)
03 Old Compton Street Blues (Al Stewart)
04 talk (Al Stewart)
05 In Brooklyn (Al Stewart)
06 talk (Al Stewart)
07 Zero She Flies (Al Stewart)
08 talk (Al Stewart)
09 Small Fruit Song (Al Stewart)
10 talk (Al Stewart)
11 Maybe Someday She Will Come Along (Al Stewart)

https://pixeldrain.com/u/5zmYzYi3

alternate:

https://bestfile.io/en/SUVxJqLqlXmjp1f/file

The cover image is from a concert at the Marquee club in London in June 1972. The original was in black and white, but I colorized it with the use of the Ask Gemini program. For the unusual font type, I got the text at the top from a poster of the movie made about the Medicine Ball Caravan. (That's a long story in and of itself.) I then had Ask Gemini make the rest of the tricky font in the same style.

Tim Hardin - Balladeers, WTBS-FM Studios, Cambridge, MA, 1-1963

Every now and then, I come across a really excellent sounding bootleg from the early 1960s. I treasure these, because they're like little miracles, since so little was recorded well and survived from back then (outside a few big names, especially the Beatles and Bob Dylan). I've posted a few like that, such as recordings from Jorma Kaukonen in 1964 and Jackie DeShannon in 1963. Here's another one like that. It's singer-songwriter Tim Hardin performing solo acoustic for a radio show in the Boston area called "Balladeers."

Hardin started his career as a folksinger in 1961, mostly living in New York City or Boston. He slowly established himself, but he wouldn't release his first studio album until 1966. However, some early recordings would later be released after he got famous as the albums "Tim Hardin 4" and "This Is Time Hardin." There's a lot of overlap between the songs on those albums and the ones performed here, but some differences too, with some unique songs here.

Most of the songs are covers, and they're generally more bluesy than his originals that made him famous (like "Reason to Believe" and "If I Were a Carpenter"). But there are a few originals here too, such as "Danville Dame," "Whiskey, Whiskey," and "Go Bum Again." By the way, "Go Bum Again" is one of those here that don't seem to have ever been officially released in any form.

There was one problem with this bootleg recording when I found it, and that was lot of hiss. Lots and lots. But I managed to get rid of nearly all of that, thanks to the MVSEP program. Now, this sounds almost as good as those other early recordings that got officially released, such as "Tim Hardin 4."

As far as I can tell, everything here remains officially unreleased. However, there are some "grey market" release of this performance (meaning bootlegs sold as if they were legit releases) under names like "In Session 1963" and "The Early Blues."  

This album is 36 minutes long. 

01 You Can't Judge a Book by the Cover (Tim Hardin)
02 Hesitation Blues (Tim Hardin)
03 talk (Tim Hardin)
04 Danville Dame (Tim Hardin)
05 Crossroads Blues (Tim Hardin)
06 Hoochie Coochie Man (Tim Hardin)
07 House of the Rising Sun (Tim Hardin)
08 talk (Tim Hardin)
09 Whiskey, Whiskey (Tim Hardin)
10 Instrumental (Tim Hardin)
11 Railroad Worksong - When You Hear the Cuckoos Hollerin' (Tim Hardin)
12 Go Bum Again (Tim Hardin)
13 Rocky Mountain Woman Blues (Tim Hardin)
14 Makes a Long Time Man Feel Bad (Tim Hardin)

https://pixeldrain.com/u/sTcnwmsi

alternate:

https://bestfile.io/en/6J1lRA32WLVMkbI/file

The cover image shows Hardin in a recording studio around 1965 or 1966. The original was in black and white, but I colorized it.

Laura Nyro - Bottom Line, New York City, 7-12-1978

Here's a great sounding bootleg concert of singer-songwriter Laura Nyro. It's in solo acoustic mode, usually just her at the piano.

Nyro is best known for the albums she released from 1967 to 1971. They are very interesting in and of themselves, but also, many of the songs were covered by others and became hits. After 1971, she quit the music industry for a few years. She got married and lived a simple life in the countryside. But she came back in 1976. She released an album that year, "Smile," and went on tour. She also released an album in 1978, "Nested," and toured again. However, after that she quit the music business a second time for another six years.

This second phase of her career, from 1976 to 1978, didn't result in hit cover versions like the first one did, so it's not that well known. But if you look at the ratings of her albums at the crowd-sourced rateyourmusic.com, her 1976 and 1978 albums get pretty good ratings. They're not quite as high as her earlier albums, but higher than all of her subsequent ones.

In 1977, she also released her first live album, "Season of Lights... Laura Nyro in Concert." It documented her 1976 tour, which was done with a full band. This recording, though, is different, because she performed without a band. It was recorded for a radio broadcast, so the sound quality is fantastic.

I found a single audio file for this entire concert. I chopped it up into individual mp3s. So I believe this is the first time this has been shared as a tracked audio bootleg. 

The concert consisted of a mix of songs from her two most recent albums and well known songs from previous albums. It ends with a cover of "Mama Roux" by Dr. John. I don't believe any version of this song by her has been officially released. 

This album is 51 minutes long. 

01 talk by emcee (Laura Nyro)
02 Rhythm and Blues (Laura Nyro)
03 Mr. Blue [Song of Communication] (Laura Nyro)
04 Sweet Blindness (Laura Nyro)
05 American Dreamer (Laura Nyro)
06 Crazy Love (Laura Nyro)
07 Child in a Universe (Laura Nyro)
08 Light [Pop's Principle] (Laura Nyro)
09 And When I Die (Laura Nyro)
10 The Nest (Laura Nyro)
11 Emmie (Laura Nyro)
12 Sexy Mama (Laura Nyro)
13 Man in the Moon (Laura Nyro)
14 In the Country Way (Laura Nyro)
15 talk (Laura Nyro)
16 Mama Roux (Laura Nyro)

https://pixeldrain.com/u/4oxpo7hy

alternate:

https://bestfile.io/en/tAcTrMUlQah0c8k/file

The cover image isn't from this exact concert, but it's from just a couple of weeks later. It's from a concert at the Wollman Rink in Central Park, New York City, on July 22, 1978. The image was originally in black and white, but I colorized it.

Robyn Hitchcock & Emma Swift - Live from Tubby's House, Nashville, TN, 8-24-2026

Ever since at least the Covid pandemic beginning in 2020, Robyn Hitchcock has performed a lot of home concerts. Generally speaking, I haven't posted them because they were behind paywalls, and artists like him need ways to make a living. But about two weeks ago as I write this in early September 2026, Hitchcock posted a home concert on YouTube that's available for anyone. I've converted it from video to audio and chopped it up into mp3s, so you can enjoy it as an audio bootleg. 

In July 2026, Hitchcock released an excellent new studio album, "The Confuser." It's his best in years, in my opinion. Yet, in typical contrarian fashion, he barely promoted it at all in this concert. He only played one song from hit, "My Dead Astronaut." Instead, this was a requests show, and he and his partner Emma Swift were looking at Internet requests as they came in live and performing some of them. So he tended to do lesser known songs.

Speaking of Swift, she is an excellent singer herself. She sang harmonies on a good number of the songs. She also bantered back and forth with Hitchcock between most of the songs, but I didn't carefully listen to the talking tracks to see which ones involved her or didn't. 

 

Hitchcock and Swift did another one of these concerts for YouTube on September 2, 2026, and I have plans to process and post that one as well. 

This album is an hour and 31 minutes long.

01 talk (Robyn Hitchcock)
02 My Dead Astronaut (Robyn Hitchcock)
03 talk (Robyn Hitchcock)
04 You and Oblivion (Robyn Hitchcock)
05 talk (Robyn Hitchcock)
06 The Leopard (Robyn Hitchcock)
07 talk (Robyn Hitchcock & Emma Swift)
08 [A Man's Gotta Know His Limitations] Briggs (Robyn Hitchcock & Emma Swift)
09 talk (Robyn Hitchcock)
10 I Often Dream of Trains (Robyn Hitchcock)
11 Raymond Chandler Evening (Robyn Hitchcock)
12 talk (Robyn Hitchcock)
13 Autumn Is Your Last Chance (Robyn Hitchcock)
14 talk (Robyn Hitchcock)
15 Mexican God (Robyn Hitchcock)
16 talk (Robyn Hitchcock)
17 Cynthia Mask (Robyn Hitchcock)
18 talk (Robyn Hitchcock)
19 Winchester (Robyn Hitchcock)
20 talk (Robyn Hitchcock & Emma Swift)
21 So You Think You're in Love (Robyn Hitchcock & Emma Swift)
22 talk (Robyn Hitchcock & Emma Swift)
23 Rock 'n' Roll Toilet (Robyn Hitchcock & Emma Swift)
24 talk (Robyn Hitchcock & Emma Swift)
25 Oceanside (Robyn Hitchcock & Emma Swift)
26 talk (Robyn Hitchcock)
27 Glass Hotel (Robyn Hitchcock)
28 talk (Robyn Hitchcock)
29 Opel (Robyn Hitchcock)
30 talk (Robyn Hitchcock & Emma Swift)
31 One Long Pair of Eyes (Robyn Hitchcock & Emma Swift)
32 talk (Robyn Hitchcock)

https://pixeldrain.com/u/zX1iRPXP

alternate:

https://bestfile.io/en/BN2ki1qPiczUr5C/file

The cover image is a screenshot I took from a video of this exact concert. I used the Ask Gemini program to improve the image quality.

Gregson & Collister - BBC Sessions, Volume 2: Cambridge Folk Festival, Cherry Hinton Hall Grounds, Cambridge, Britain, 8-1-1987

I was going through my music collection recently and noticed that I have yet to post any music by the British folk rock duo of Clive Gregson and Christine Collister. This is an oversight on my part, because I really like them. I have three albums of them performing for the BBC. Here's the first one.

Gregson got his start being the lead vocalist and main songwriter for the band Any Trouble. They released four albums from 1980 to 1984, then broke up. Unfortunately, while they were critically acclaimed, their sales weren't great. Gregson then started a solo career, while also joining Richard Thompson's band.

Christine Collister didn't have much musical experience before also joining Richard Thompson's band in 1985, roughly the same time Gregson did. She joined after Gregson saw her performing at a folk club and recommended her to Thompson. The two of them began working together as a duo, very much in the mold of the duo of Richard and Linda Thompson in the 1970s and early 1980s.

Gregson and Collister would perform together from 1986 to 1992. They released their first two albums in 1987, "Home and Away" and "Mischief." Most of the songs here come from those albums. If you like Richard Thompson's music, you definitely should check this out. Gregson writes clever and tuneful songs, just like Thompson, and is an excellent guitarist, just like him as well. During these years, Gregson pretty much wrote all the songs, but Collister added a lot with her excellent vocals.

Here's the Wikipedia link for Gregson:

https://en.wikipedia.org/wiki/Clive_Gregson

And here's the one for Collister:

https://en.wikipedia.org/wiki/Christine_Collister 

Note that the first nine tracks are from the show mentioned in the title. The last four tracks are from another BBC show. It's a lucky break that all the songs are different from the first show here. I don't know anything about this show other that it too was broadcast on the BBC, and it apparently dates to November 2, 1987. If anyone has more information about it, please let me know.

Finally, thanks to musical friend Peter who made this music available to me. 

This album is 42 minutes long.

01 All the Time in the World (Gregson & Collister)
02 talk (Gregson & Collister)
03 Home Is Where the Heart Is (Gregson & Collister)
04 You Rascal You (Gregson & Collister)
05 Not a Day Passes (Gregson & Collister)
06 talk (Gregson & Collister)
07 Touch and Go (Gregson & Collister)
08 talk (Gregson & Collister)
09 I Heard It through the Grapevine (Gregson & Collister)
10 When My Ship Comes In (Gregson & Collister)
11 It's All Just Talk (Gregson & Collister)
12 Lost at Sea (Gregson & Collister)
13 All Because of You (Gregson & Collister)

https://pixeldrain.com/u/brSSyyPJ

alternate: 

https://bestfile.io/en/75Gat3c5rncKAbd/file

The cover image is a screenshot I took from an unknown TV show appearance. I don't know any details.

Isle of Wight Festival, Afton Down, Isle of Wight, Britain, 8-27-1970 to 8-30-1970 - 8-30-1970: Part 9: Richie Havens

Here is the ninth and final album from the last day of the 1970 Isle of Wight festival. It's an acoustic set by Richie Havens.

Perhaps the festival organizers thought there would some positive symbolism to having Havens close the festival, since he was the act to open the 1969 Woodstock Festival, and their hope was this would be seen as the British version of Woodstock. 

When I first posted most of the music from this festival in 2023, I skipped the sets by Donovan, Joan Baez, and Havens, due to poor sound quality. We have soundboard recordings from nearly all the other acts, but only audience recordings from those three. But now, as I write this in 2026, I think the audio editing technology has improved enough for me to post these. Beware though, since the sound quality is still pretty rough. Only so much could be done.

That was especially the case with this Havens set. The good news is that he mostly performed in solo acoustic mode, although he was supplemented by some drumming and some other instruments on a few songs. That's good, because it's easier to get a clear recording from a solo acoustic performance than a full band one. But cutting against that was Havens' aggressive strumming style. There was a frequent problem of wind blowing against the microphones, and that was made worse by his style, with the microphone probably already near its limit. 

Luckily, I have an audio editing program, Izotope, that has a specific "de-wind" filter, as well as a "de-rustle" one. I used both of those on all the songs here, and it helped a lot. I used some other audio editing tricks as well. Read my write-up for the Donovan set for more information on that. The bottom line is, this sounds decent now, but still far from as good as most of the rest of the festival. Still, it's nice to have this, if you want to have as much from the festival as reasonable, like I do.

I included the rest of this write-up for the Leonard Cohen set when I posted it back in 2023. That's because the Cohen one was the last set from the festival that I posted at that time. But now that we have one after that one, I've moved that text from that album to here:

--- 

So that's the end of the festival. All in all, I have to say that although the festival had some problems, in terms of music, the line-up was fantastic, and the recordings that have been made public contain a lot of great music. That's especially the case because so few festivals from this era were professionally recorded from start to finish like this one was. The only one that bests it, in my opinion, is Woodstock, because all of that has been released. 

Maybe someday there will be a complete release of this festival too, allowing us to hear the full sets from Kris Kristofferson, Mighty Baby, Supertramp, the Groundhogs, Gilberto Gil & Caetano Veloso, Fairfield Parlour (a.k.a. Kaleidoscope), Lighthouse, Family, Cactus, Shawn Phillips, Tiny Tim, Melanie, Ralph McTell, and more. If that happens, I think it would be an even more impressive musical document than Woodstock, with even more big name classic artists.

Oh, as an aside, the Everly Brothers, Mungo Jerry,  Cat Mother, Spirit, and Redbone were on the bill for the concert, but none of them actually played. There were a lot of last minute arguments with the promoters about getting paid, since it was common for musical acts to get stiffed at big festivals like this at the time. Here's a concert poster showing the acts, including those who didn't show. You can tell from the font size which ones were considered the biggest attractions.

In case you want to know more about the festival, there's an entire website about it here, with lots of photos and personal accounts:

https://www.ukrockfestivals.com/iow1970menu.html

If you attended, I'd be curious to hear your impressions. Was it a disaster, or great, or somewhere in between? I gather the vast majority of people who went had a good time, so I'd consider that a successful festival.

This album is an hour and one minute long. 

154 Maggie's Farm (Richie Havens)
155 Minstrel from the Gault (Richie Havens)
156 Fire and Rain (Richie Havens)
157 War (Richie Havens)
158 I'm a Stranger Here (Richie Havens)
159 The Parable of Ramon (Richie Havens)
160 Here Comes the Sun (Richie Havens)
161 Freedom - Run Shaker Run (Richie Havens)
162 talk (Richie Havens)
163 Hare Krishna (Richie Havens)

https://pixeldrain.com/u/NB1fkJhs

alternate:

https://bestfile.io/en/UINy9WILdRLmo9B/file

The cover image is from this exact concert.

Isle of Wight Festival, Afton Down, Isle of Wight, Britain, 8-27-1970 to 8-30-1970 - 8-30-1970: Part 7: Joan Baez

This is the seventh album from the last day of the 1970 Isle of Wight festival. It's an acoustic set by Joan Baez.

I've described in other write-ups how, when I posted most of the music from this festival in 2023, I didn't post a few of the sets due to poor sound quality. This is one of those sets, along with ones from Donovan and Richie Havens. But as I write this three years later, audio editing technology improved enough for me to hopefully clean these up enough to make them worth listening.

For whatever reason, out of the three, this Baez one probably sounds the best. Most of it comes from an audience bootleg. But a couple of the songs come from other sources which are a lot better, for instance "Let It Be." Perhaps the crowd was quieter, since it was late at night by this time. Also, there don't seem to be as many airplanes flying overhead as during the Donovan set, which took place in the middle in the day. Still one more lucky thing is that the taper recorded most of the banter between songs, when virtually none of that was recorded for the Donovan and Richie Havens sets. 

I ran this music through various audio editing filters, the same ones I described in my write-up for the Donovan album. So that helped. But still, beware. One can only do so much with problematic source material. This sounds okay now, but it still sounds worse than most of the other music from this festival. 

This album is an hour and two minutes long.

105 Love Is Just a Four-Letter Word (Joan Baez)
106 talk (Joan Baez)
107 Let It Be (Joan Baez)
108 Joe Hill (Joan Baez)
109 talk (Joan Baez)
110 The Brand New Tennessee Waltz (Joan Baez)
111 talk (Joan Baez)
112 The Hitchhikers' Song (Joan Baez)
113 The Night They Drove Old Dixie Down [Edit] (Joan Baez)
114 Farewell, Angelina (Joan Baez)
115 talk (Joan Baez)
116 Oh Happy Day (Joan Baez)
117 Blowin' in the Wind (Joan Baez)
118 Gracias a la Vida (Joan Baez)
119 Te Ador (Joan Baez)
120 talk (Joan Baez)
121 C'era Un Ragazzo Che Come Me Amava [Edit] (Joan Baez)
122 Suzanne (Joan Baez)
123 talk (Joan Baez)
124 Sweet Sir Galahad (Joan Baez)
125 I Shall Be Released (Joan Baez)
126 talk (Joan Baez)
127 Ghetto (Joan Baez)
128 Swing Low, Sweet Chariot (Joan Baez)
129 We Want Our Freedom Now (Joan Baez)

https://pixeldrain.com/u/1yVdU8uM 

alternate:

https://bestfile.io/en/gcsqbaMnrHKowJv/file

The cover image is from this exact concert.

Isle of Wight Festival, Afton Down, Isle of Wight, Britain, 8-27-1970 to 8-30-1970 - 8-30-1970: Part 2: Donovan

Back in 2023, I posted the vast majority of all the available music from the 1970 Isle of Wight festival. However, there were three sets I didn't post due to sound quality issues. This set by Donovan was one of them. I have now made some audio edits to get this to a decent state. But note that the sound quality is just okay, and worse than the vast majority of the recordings from this festival.

The problem here is that while most of the other publicly available recordings from this festival are soundboard bootlegs (or even official live albums), this one comes from an audience bootleg. And not even a particularly good one. There was a lot of wind blowing on the mike, airplanes flying overhead, nearby people talking, and other such problems that got onto the record. 

On the plus side, I write this in September 2026, and audio editing technology has improved a lot since I posted most of the other music from the festival in 2023. So I ran these songs through multiple filters, mostly using the MVSEP program, but also Izotope 10. That helped sometimes, but not all the time. It's better, for sure, and I consider it listenable, but if you have high standards, this probably isn't for you. There still are many problems I couldn't fix.  

For most of the concert, Donovan performed in solo acoustic mode. That was a lucky break for us, because it's easier to get a decent recording of that kind of music compared to a full band one. But for the last few songs, he switched to performing with his band at the time, Open Road. The last four songs in particular got really rocking, which meant the sound quality got even worse. So I decided not to include those, sorry.

Thing start off strong with "Catch the Wind." But that's just luck. It has the best sound quality of any song, because it was included on the album "Message to Love" that went with the film documentary of the same name. You'll notice a drop-off between that and everything else.

Another problem is there's no banter between songs, with one exception (track 21). That's because the person who recorded this paused the recordings between songs. This was a common bootleg recording style in this era, due to people wanting to save tape. The audience applause was generally cut off right in the middle as well for every song. But there were a few that escaped that problem. I used the few cases of having the applause die out, and then pasted those endings onto other songs, so all the applause come to natural ends. 

This album is 56 minutes long.

017 Catch the Wind (Donovan)
018 Henry Martin (Donovan)
019 Sailing Homeward (Donovan)
020 The Pee Song (Donovan)
021 talk (Donovan)
022 Hurdy Gurdy Man (Donovan)
023 Slow Down World (Donovan)
024 There Was an Old Lady Who Swallowed a Fly (Donovan)
025 The Garden (Donovan)
026 How Silly (Donovan)
027 Get Myself Together Somehow (Donovan)
028 Atlantis (Donovan)
029 Sand and Foam (Donovan)
030 There Is a Mountain (Donovan)
031 Train Whistle Blues (Donovan)
032 Mistaken Eternity (Donovan)
033 Season of the Witch (Donovan)

https://pixeldrain.com/u/uUHwRKtE 

alternate:

https://bestfile.io/en/He9B38q80uR8oYP/file

The cover image comes from this exact concert. 

Graham Nash - Capitol Theater, Port Chester, NY, 7-15-2017

Here's another concert that comes from the April 2026 leak of soundboard bootlegs from the Capitol Theater in Port Chester, New York. This one is an acoustic show starring Graham Nash of Crosby, Stills and Nash. He was backed up only by Shane Fontayne on lead guitar and backing vocals.

Due to that leak mentioned above, I was able to find a video file of this concert. I converted the video to audio, and chopped them into mp3s. Like most files from that leak, the sound quality is excellent, but in mono.

Unfortunately, according to setlist.fm, the video is missing the first six songs. (Everything here prior to "King Midas in Reverse.") But since I found a list of what those songs were, I looked around to see if there were good versions from another concert. It turns out there is a pretty good audience bootleg from Perth, Britain, on July 28, 2018. All of those six missing songs were played, but in different order. I repositioned them in the correct order, including some banter that fit. Since the source for these is an audience boot with lesser sound, I took some extra steps to improve the sound quality for those. I ended up running the songs through the MVSEP program a couple of times each to get rid of unwanted crowd noise and reverb. Now, those six songs sound better, though still not quite as good as the rest.

In 2016, Nash released the solo album "This Flight Tonight." It was his first solo album in 14 years, and, in my opinion, one of his best. He played just four songs from that album. He also did some unexpected rarities. I was especially pleased to see that he did a couple of Hollies songs "On a Carousel" and "Carrie Anne" that he has very rarely done during his long post-Hollies career. ("King Midas in Reverse" is also originally a Hollies song, but he's played that one a lot more over the years.)

This album is one hour and 51 minutes long. 

01 On a Carousel - Carrie Anne (Graham Nash)
02 talk (Graham Nash)
03 Marrakesh Express (Graham Nash)
04 I Used to Be a King (Graham Nash)
05 talk (Graham Nash)
06 Immigration Man (Graham Nash)
07 talk (Graham Nash)
08 Sleep Song (Graham Nash)
09 talk (Graham Nash)
10 Myself at Last (Graham Nash)
11 talk (Graham Nash)
12 King Midas in Reverse (Graham Nash)
13 talk (Graham Nash)
14 Wasted on the Way (Graham Nash)
15 Military Madness (Graham Nash)
16 talk (Graham Nash)
17 Wind on the Water (Graham Nash)
18 talk (Graham Nash)
19 A Day in the Life (Graham Nash)
20 talk (Graham Nash)
21 talk (Graham Nash)
22 Simple Man (Graham Nash)
23 talk (Graham Nash)
24 Taken at All (Graham Nash)
25 talk (Graham Nash)
26 Lady of the Island (Graham Nash)
27 talk (Graham Nash)
28 Golden Days (Graham Nash)
29 talk (Graham Nash)
30 Mississippi Burning (Graham Nash)
31 talk (Graham Nash)
32 Back Home (Graham Nash)
33 talk (Graham Nash)
34 Cathedral (Graham Nash)
35 talk (Graham Nash)
36 Our House (Graham Nash)
37 Chicago (Graham Nash)
38 talk (Graham Nash)
39 Blackbird (Graham Nash)
40 talk (Graham Nash)
41 Teach Your Children (Graham Nash)

https://pixeldrain.com/u/ibE3x7YN 

alternate:

https://bestfile.io/en/sS1lfWNIk0DlnIb/file

The cover image is a screenshot I took of this exact concert.

Earthquake Relief Benefit, Cow Palace, Daly City, CA, 11-26-1989, Part 5 - Neil Young

Here's Part 4 of the 1989 Earthquake Relief Benefit concert at the Cow Palace, in Daly City. This is a Neil Young solo acoustic set.

As I mentioned in the Crosby, Stills and Nash set earlier in this series, I find it rather strange Young didn't play with CSN at all, since they performed in the same venue on the same night. Furthermore, they did an entire show together at the Bridge Benefit concert a month earlier. 

Perhaps Young was focused on promoting his new album at the time, "Freedom." It came out in October 1989, and was a big commercial and critical success. Only two songs here are from that album though, "Rockin' in the Free World" and "Crime in the City (Sixty to Zero, Part 1)."

This album is 26 minutes long. 

01 My My, Hey Hey [Out of the Blue] (Neil Young)
02 Rockin' in the Free World [Edit] (Neil Young)
03 Comes a Time (Neil Young)
04 Homegrown (Neil Young)
05 Heart of Gold (Neil Young)
06 talk (Neil Young)
07 Crime in the City [Sixty to Zero, Part 1] (Neil Young)

https://pixeldrain.com/u/DNmod53X 

alternate: 

https://bestfile.io/en/ObwHKSHiPXheIym/file

The cover image is a screenshot I took from a video of this exact concert.  

Children of the Americas Radiothon, United Nations Building, New York City, 11-18-1989, Part 3 - Crosby, Stills & Nash

Here is the third and final part of the 1989 "Hungerthon" benefit concert held at the United Nations building in New York City. This one is a set by Crosby, Stills and Nash.

I've posted the 1988 Hungerthon at this blog as well. (It's the only other one I can find, at least so far.) In that one, Crosby, Stills and Nash were the final act as well, the main headliner. But in that concert, their set only lasted 36 minutes. This time, their set was over an hour and a half, which was probably about as long as their typical concerts in that era.

In 1988, Crosby, Stills, Nash and Young released only their second studio album as a foursome, "American Dream." Frankly, it was a big disappointment. But in my opinion, most of the songs were strong. The album was ruined by inappropriate production (which was all too common a problem in the 1980s), plus being too long, and other issues like that. They only played a few new songs here: "House of Broken Dreams," "Tracks in the Dust," and "Got It Made." In my opinion, they were just as strong as the other songs. I wish they would have played more. For the most part, they stuck to their classics (plus a cover version of "Midnight Rider"), all performed in acoustic mode.  

Like the first two parts of this concert, the sound quality is excellent, due to it being broadcast on a radio station at the time. However, like those other parts, there were a lot of interruptions by DJs asking for donations between songs. (It was a radiothon fund raising benefit concert, after all.) I got rid of all that. I also did a lot of work between songs, repairing the parts ruined by the DJ talk, and patching in more audience applause instead. I think it has a pretty good flow now.   

One minor problem appeared with "Almost Cut My Hair:" the intro through to the very first line of lyrics was missing. Probably, this was due to a DJ who kept talking after the song started. I found a different version of the song from the same time period (from a Crosby solo concert, actually) and patched that in. So that's why that song has "[Edit]" in its title. But really, I could have put that in nearly all the titles, due to all the editing I did to fix applause issues.

This album is an hour and 39 minutes long. 

45 talk by emcee (Crosby, Stills & Nash)
46 Wasted on the Way (Crosby, Stills & Nash)
47 Change Partners (Crosby, Stills & Nash)
48 talk (Crosby, Stills & Nash)
49 Blackbird (Crosby, Stills & Nash)
50 talk (Crosby, Stills & Nash)
51 The Lee Shore (Crosby, Stills & Nash)
52 talk (Crosby, Stills & Nash)
53 Just a Song Before I Go (Crosby, Stills & Nash)
54 talk (Crosby, Stills & Nash)
55 Helplessly Hoping (Crosby, Stills & Nash)
56 talk (Crosby, Stills & Nash)
57 4+20 (Crosby, Stills & Nash)
58 Wind on the Water (Crosby, Stills & Nash)
59 talk (Crosby, Stills & Nash)
60 House of Broken Dreams (Crosby, Stills & Nash)
61 talk (Crosby, Stills & Nash)
62 Tracks in the Dust (Crosby, Stills & Nash)
63 talk (Crosby, Stills & Nash)
64 Almost Cut My Hair [Edit] (Crosby, Stills & Nash)
65 talk (Crosby, Stills & Nash)
66 Guinnevere (Crosby, Stills & Nash)
67 talk (Crosby, Stills & Nash)
68 Midnight Rider (Crosby, Stills & Nash)
69 talk (Crosby, Stills & Nash)
70 Got It Made (Crosby, Stills & Nash)
71 talk (Crosby, Stills & Nash)
72 Southern Cross (Crosby, Stills & Nash)
73 Wooden Ships (Crosby, Stills & Nash)
74 talk (Crosby, Stills & Nash)
75 Our House (Crosby, Stills & Nash)
76 talk (Crosby, Stills & Nash)
77 Suite- Judy Blue Eyes (Crosby, Stills & Nash)
78 talk (Crosby, Stills & Nash)
79 Teach Your Children (Crosby, Stills & Nash)
80 talk (Crosby, Stills & Nash)
81 Daylight Again - Find the Cost of Freedom (Crosby, Stills & Nash)

https://pixeldrain.com/u/qGQAeset

alternate:

https://bestfile.io/en/iSu0l8oEHTccKyW/file

As I mentioned with the previous parts of this concert, I couldn't find any actual photos of musicians performing at the concert. However, I did find some related artwork. In this case, I found a concert poster for the concert that was signed by Crosby, Stills and Nash. You can see their scribbles on the silverware in the image. I couldn't find the name of the artist who made the poster.

I have to admit I altered this art in a significant way. Originally, it was a different shape, fitting a rectangular poster. But I squished it down vertically in order to fit into the square space needed for an album cover.

Children of the Americas Radiothon, United Nations Building, New York City, 11-18-1989, Part 2 - Michael Hedges

Here's Part 2 of the 1989 "Hungerthon" concert benefit that took place inside the United Nations in New York City. This time, it's a short set by Michael Hedges.

I'm a big fan of the music of Michael Hedges. I think he was a great guitarist, but also very underrated as a singer. I'm surprised this is the first time I'm posting any music from him. I'll have to post more from him soon. He died far too young in 1997, due to a motorcycle accident.

Anyway, you know who else was a big fan of Hedges' music at this time? Crosby, Stills and Nash. Spoiler alert: the third and final part of this concert is a Crosby, Stills and Nash set. I figure they had their choice of opening acts, and chose Hedges. You can hear them go out of their way to compliment him in some of their banter between songs, showing just how much they were trying to boost him. In particular, there was a natural affinity between the music of Crosby and Hedges, since they both preferred to write weird songs with weird guitar tunings.

Note that, in Part 1, all the musical acts performed in the United Nations waiting room, a lobby just outside the General Assembly room. The crowd in that part of the concert was relatively small, as you could hear from the amount of cheering at the ends of songs. But for the Hedges and Crosby, Stills and Nash sets, they apparently played inside the General Assembly room itself, to a much larger audience.

The sound quality of this set is excellent, because it was broadcast on a local radio station. However, since this was a fundraising "radiothon," a DJ tended to speak during the applause in between the songs to remind the audience to donate money and so forth. I cut all that out. But that also meant the applause was often cut off. I managed to patch in more applause so the transitions between songs sound natural (I hope). There might be a little bit of his banter that got cut off, I don't know. 

Note that most of the songs here are original instrumentals, done solo acoustic. However, he did include two covers of famous songs, "Pinball Wizard" and "She Drives Me Crazy," plus one original with vocals, "Woman of the World." 

This album is 35 minutes long. 

31 talk by emcee (Michael Hedges)
32 Pinball Wizard (Michael Hedges)
33 talk (Michael Hedges)
34 Rickover's Dream [Instrumental] (Michael Hedges)
35 talk (Michael Hedges)
36 Ritual Dance [Instrumental] (Michael Hedges)
37 talk (Michael Hedges)
38 She Drives Me Crazy (Michael Hedges)
39 Aerial Boundaries [Instrumental] (Michael Hedges)
40 talk (Michael Hedges)
41 The Rootwitch [Instrumental] (Michael Hedges)
42 Woman of the World (Michael Hedges)
43 talk (Michael Hedges)
44 Silent Anticipations [Instrumental] (Michael Hedges)

https://pixeldrain.com/u/e4Qkzvn5

alternate: 

https://bestfile.io/tLh5IFq39cEcGql/file

As I mentioned in my write-up for Part 1, I couldn't find any photos of any of the musical acts performing at this concert. I could have used a photo of Michael Hedges from a different concert instead. However, I have artwork for the Part 1 and Part 3 covers, so I thought a different kind of cover was called for here as well. Since the concert took place inside the famous U.N. General Assembly, I decided to use a photo of that.