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Copyright (C) 2000-2007 Jason Jordan <shnutils@freeshell.org>
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cd1: raw tape
cd2: edited tape
below: interminable notes
Jeff BECK, Tim BOGERT & Carmine APPICE (BBA)
- June 09, 1973 -
Messezentrum Halle A, Nuremberg, West Germany
** from audience MASTER, MWM 0153 **
>> ! RAW and EDITED files ! - THE REAL ONE, COMPLETE - IN THIS QUALITY UNCIRCULATED << w/ samples!
Preliminary remark 1:
CONTRAST CLAUSE *** CONTRAST CLAUSE *** CONTRAST CLAUSE *** CONTRAST CLAUSE
This upoad here is different to
Torrent #290371 JEFF BECK BBA Nuremburg Germany June 1973
http://www.dimeadozen.org/torrents-details.php?id=290371
That one was upped by fellow DIMEr "kinebee" on Sunday, February 14, 2010,
is still running on the tracker, and was actually 186 times snatched.
Reading the description i was assailed by severe doubts,
as there was definitely NO Rad-Stadium in Nuremberg...
And after listening to the download, fellow DIMEr "pgl" wrote:
"this looks definitely like two different shows, with different sound quality"
De facto the first part is a so far unidentified concert ending,
and just the second part is definitely from Nuremberg 1973, but
with unknown lineage and ..."a bit rough quality"...
THIS TORRENT HERE IS FROM THE ORIGINAL AUDIENCE MASTER
WITH FULLY KNOWN LINEAGE ! And comparing both, this one
HERE is definitely better...and you'll get both, the
completely unaltered RAW files PLUS an EDITed "MWM"-version...
SO THIS ONE IS SIMPLY A MUST-HAVE - GET IT !
CONTRAST CLAUSE *** CONTRAST CLAUSE *** CONTRAST CLAUSE *** CONTRAST CLAUSE
Preliminary remark 2:
While checking the "kinebee"-upload, i got in contact with fellow DIMEr "pgl",
and handed him a RAW mp3-version of our recording here to confirm the setlist
and to compare the tape with the parts he still has in his collection.
THIS IS WHAT HE WROTE (BIG THANKS for your help, Paolo !):
"...great sound quality...really good show..."
"...i wonder how this treasure had been hidden til now..."
"...the guitar solo in "shotgun" is terrific...one of the best of jeff!"
SO I ASKED THE ORIGINAL TAPER FOR HIS CONSENT,
(no guts, no glory...) AND HERE IT IS...
(Got no reply from Jeff, Tim & Carmine...so far...)
THIS ONE IS DEDICATED TO MY DEAR "OLD" MASTERTAPER-BUDDY (you know who you are...),
i learned an incommensurable lot from you, NOT just back then - you're my hero...
Preliminary remark 3:
As far as I know NONE of this recording was ever used commercially ;-)
This upload here comes directly from the "Men With Microphones" archives.
"MWM" started in the 70ies in South Germany with analog recording equipment,
and at least two of them are still recording sometimes (since the 90ies on DAT,
and, lazy as we are, since lately with small, handheld WAV-recorders on SD-cards).
The "MWM" startet as a project of friends sharing their hobbies together. But by
reason of jobs, partners and other interests the circle of all involved shrinked.
Parental Advisory:
This is a damn long description. PROMISED !
There is a lot to read about this upload, the venue & all the notable circumstances,
the PA-system, taper's spot and the sound of this concerts in sort of a brandnew venue,
way back then...
So if you get tired reading - stop it, take a nap - and then proceed...
I tried to eliminate all indexed four letter words and ugly sexual behaviour descriptions.
But i did not eliminate all the fun we relived during transfer, tracking and uploading.
Some of the fun can be found in this following description. Enjoy !
The BBA Story:
No other stage grouping of musicians Jeff Beck has been with garnered so much adulation from
fans that remember the live performances than the trio BBA, Jeff Beck, Tim Bogert and Carmine
Appice. No others have made Jeff wince so much when he remembers the chaotic way that the band
was heading towards the end. To borrow from Dickens, "It was the best of times. It was the
worst of times." In the final analysis Jeff wanted to recapture the time he had lost due to
his accident while other peers built a fortune around what he had started with the first
Jeff Beck Group. He wanted to do it with a powerful, soulful rhythm section that had captured
his imagination years before with the Vanilla Fudge because they did the type of thing that
Jeff will admit to this day catches his ear. They made rock sound DIFFERENT. That rhythm
section of course comprised of Bogert and Appice.
As we did with the last issue on the Blow By Blow era, the Beck Bulletin set out to not only
retell the story of BBA, but to also fill in the unfinished information gaps left by bits of
media stories and interviews. To accomplish this, we first did an informal, friendly chat with
Tim Bogert. Next we did much the same with Carmine Appice. Once again we called upon the good
graces of manager Ralph Baker as he had been freshly recruited in Jeff's management camp in
the mid-BBA era. Plus we again contacted Beckology producer, VP of Warners Brothers Records
and mid-seventies Epic A&R Exec, Gregg Geller.
Every red blooded Beck fan knows how the BBA relationship began with the "Things Go Better
With Coke" commercial in New York in 1969. In fact a good number of us have four different
takes of that session. Tim Bogert recalls, "There was a Fudge roadie there at the Coke session
that had also been a roadie for the Yardbirds by the name of Bruce Wayne. Everyone used to kid
him about his name because of the BATMAN connection! Anyway, our guitarist Vinnie Martell got
so sick that he had to physically leave the session. There we were with the commercial producer
ready to go and no guitarist. Bruce said that he knew that Jeff Beck was in town staying at a
hotel and offered to try to get him. We had been listening to TRUTH and BECKOLA and needless
to say were excited at the prospect of having Jeff do the session with us and a short time
later, he just showed up, ready to play."
The paths of Jeff Beck and the Vanilla Fudge would again cross on that once in a lifetime concert
in July of '69 at the Singer Bowl in New York. An unbelievable lineup even for those days saw
the Jeff Beck Group, Led Zeppelin and Ten Years After all as support acts with the Vanilla Fudge
headlining the bill. Needless to say, the Fudge were heavily upstaged and despondant. Jeff was
wanting a fresh direction and was tired of touring and bickering with Wood and Stewart about
money and tours. As Tim Bogert recalls, "Jeff and I walked off the stage that night, arm around
shoulders and swearing that we would fire our respective bands that night to form a new group."
Although that promise didn't come true that night, it did come to reality less than a month
later in early August. The initial plan was to have Stewart sing but Rod (the Mod) was being
talked into a solo career by Mercury Records and preferred that over the wild rock atmosphere
of the American boys in addition to being determined to make it without Jeff. So plans were
made to go out as a trio but as we all know, on November 5th, Jeff got sidelined for a few
months with that awful car accident.
Tim and Carmine being used to working almost non-stop, decided to form a new group,
Cactus, with ex-Detroit Wheels guitarist Jim McCarty. When Jeff's head healed enough
to start practicing, he called up Tim and Carmine and as Tim recalls, "Jeff just said,
'I'm ready to play', but of course we couldn't because of Cactus." Carmine added,
"We almost didn't have the heart to tell him."(Jeff).
After Jeff's next group lineup had recorded two Epic Lp's and done a couple of tours, they
wound up in the summer of 1972 at the Electric Ladyland Studios to start recording some
material. Stevie Wonder was also there. Someone at Epic Records told Stevie that Jeff loved
his compositions and the two met. Agreements were verbalized to play on each others records
and of course Stevie came up with "Superstition" for Jeff in addition to two other tracks
that Jeff would later use on Blow By Blow. Jeff called in his group (band!!!) to record
"Superstition" and that lineup did at least one take of that. After a heated argument with
bassist Clive Chaman (later in this article to become a deja vu') Jeff felt that he wanted
a more powerful band to record "Superstition" and have a hit record with it that he so
desperately deserved. Max Middleton was kept on to fill in needed keyboard gaps. Everyone
else (Cozy Powell, Bob Tench) was let go and Jeff's crew called up Tim and Carmine. Jeff
had seen and was intially impressed with a vocalist named Kim Milford who had done some
work on Jesus Christ Superstar. Cactus had disbanded so Tim and Carmine showed up that
first night at the studio ready to record "Superstition". What has not been known to many
Beck fans before is that Milford was also present at that time. "Kim Milford was there the
very first night" explains Tim Bogert. "He cut 'Superstition' and a couple of other things."
One of those other 'things' was the future BBA classic rearrangement of "Let Me Love You"
called "Lose Myself With You", which a well known L.A. Beck collector has a tape of but
won't part with it!! for anything less than the Holy Grail!
Just how many versions of "Superstition" came out of that time frame still is unclear even
to the memories of those involved. Carmine says, "I replaced Cozy Powell's drums on a version
with Stevie Wonder." Tim Bogert recalls the Kim Milford vocal version as well as 'several'
versions both with Max and Stevie. Max and Stevie's funky keyboard work at that time sounded
so similar that Jeff Beck and "Beckology" producer Gregg Geller had a friendly difference of
opinion as to which one was on another particular track (not 'Superstition') thus shelving
the idea of putting whatever that track was on "Beckology". Circus Magazine in the 1970's
reported the Milford sung version of "Superstition" coming out in Sweden on a Milford
single release.
At any rate the new lineup of BBA, M and M rehearsed for a bit and then went out on the road
as the new Jeff Beck Group to try out their fresh sound on audiences. The Stanley Theatre in
Pittsburgh, PA on August 1, 1972 was their first gig. The set was comprised of tunes from the
Rough And Ready and Orange Lp's plus a reworking of "Plynth" which segued into "Shotgun"
(Junior Walker tune done previously by the Vanilla Fudge) and of course "Jeff's Boogie".
A Cactus penned tune "Oleo" was added to the set as a vehicle for a Tim Bogert bass solo.
Additionally, an original rock tune, "Chain Your Lovers To The Bedposts", was added to the
show. Tim Bogert cleared up this mystery. When I played him a tape of the Stanley Theatre
show, he burst out "That's a Kim Milford original song." Tim the proceeded to sing along
with the song over the phone!
Jeff's playing at the time was phenomenal! He still had a Fender Stratocaster and since the
band was not yet at the boogie volume it would eventually attain, the Strat cut through the
band's sound nicely. They were still doing "Definately Maybe" and the version from the Stanley
Theatre is a killer! More dates followed including: Gaelic Park, NY, Tampa, FL and Dallas, TX.
After the Dallas show it was now apparent to everyone in the band that Kim Milford did not fit
in onstage with the other heavyweight musicians. "Kim Milford wasn't cutting it with the crowd,"
recalls Tim. Carmine embellishes, "He was like a go-go dancer. The crowd couldn't take him."
On August 9th Jeff Beck hired Bob Tench to finish the tour which swung out to San Jose and San
Bernadino on the 10th and 11th. "Boy, was I relieved when we got Bob Tench back" said Carmine.
After the tour some new material was quickly written back in England. It was common in those
days for Jeff and the boys to play each other ideas over transatlantic telephone since both
parties would opt for their homes after a tour.
The Jeff Beck Group next landed in Europe and played a more thunderous and boogie oriented
style. Jeff filled in with more rhythm work, the volume was turned up and Max Middleton went
on to other projects (Mick Taylor, Jack Bruce, Pete Brown, etc.). The group still had not
changed it's name yet to properly reflect the powerful nature of the trio. Tim Bogert explains,
"We were cautious about calling ourselves BBA because we wanted to see what would happen with
the West, Bruce and Laing thing."
The trio toured all over Europe with some collectors' tape highlights being Amsterdam, Frankfurt
and London. When "Tonight I'll Be Staying Here With You" segued into "People Get Ready", it
featured the Long Island white soul harmonies of Tim and Carmine and gave a breather to the
ever increasing thump of Carmine's double bass drums and Tim's powerful bass lines.
It was at this point that the mischevious friendly antics between Jeff and Timmy started to
wane. "From then on, I was just a hired bass player", Tim matter of factly puts it. Carmine
offered this, "Jeff came to me and asked if Timmy ever just plays the bottom groove?" I said
to Jeff, "What you hear is what you get. Tim is such a great bass player that after a few months
into a new band, he just starts to go wild and play those amazing solos." Jeff Beck, after the
breakup of BBA reflected in the press, "Timmy played what I should have been playing."
Since the U.S. had not really seen the band in it's present form and they did have some new
material, the band did a fall '72 October U.S. tour mostly of the east coast including collector
taped Boston, MA, Rochester, NY and Passaic, NJ. Audience reaction was mind boggling. Here
was Jeff finally revving up his Stratocaster and firing off run after run against the thunder
of the Bogert/Appice rhythm section. Tim says, "We were kicking butt. About one out of every
three shows was a killer. The money was great." At this time of course Stevie Wonder had made
his own "Superstition" a mega hit. Jeff wistfully told the audience at the Music Hall in Boston
on October 23 as he was introducing the song, "....and it ain't on Truth." Two other highlights
of that tour come to mind. First, Jeff's most amazing renditions of "Jeff's Boogie" to date and
secondly, the newly initiated theatrics at the end of the show where Beck would feign death on
the stage floor after a pie in the face only to rise and smash one in Carmine's face after
asking the audience for approval. This episode is available on trasferred home Super 8mm to
VHS silent video to collectors (one for the family album, Jeff?). Carmine recounts, "I used
to be in bands in the early days in New York that used to do things like that. Before those
gigs in America, we used to do other things...Tim and I would fan down Jeff on stage with
towels during his solo in 'Jeff's Boogie' as if to say, boy those solos are so hot, we've
got to cool you down. Once in London we even showed up in ripped tuxedos."
Realizing that they had to record a proper Lp to sustain the group any further, the boys
planned on entering a studio where childhood influences abounded and also was the studio where
Jeff had previously created musical magic when the Yardbirds had recorded there in 1965.
Where? ...the legendary Chess Studio in Chicago. They didn't have alot of material so they
brought in Don Nix who had years earlier penned the Beck classic "Going Down". Don gave Jeff
a real earthy, down and dirty "Black Cat Moan", aptly named for the tremendous tones of Jeff's
slide guitar and on which Beck also does the moaning vocals. "Lose Myself With You" (the
re-worked "Let Me Love You"), "Lady" and "Why Should I Care" were already in the BBA live
show format and needed to be put on vinyl. The boys' mutual love of R&B led them to agree
on Curtis Mayfield's "I'm So Proud". "Superstition", by now a mega Stevie Wonder hit, was
put on the Lp as an afterthought. "Sweet Surrender" beefed up the ballad portion of the Lp,
another Don Nix tune and more importantly, a tune that the band didn't have to write.
The final track to be decided upon was "Oh To Love You" also the only track that was done
basically outside of Chess, in Long Island under Carmine's direction. "Jeff was supposed to
play electric sitar on it but wound up almost not playing on it at all." Jeff did do overdubs
on it later. Other friends of Tim and Carmine from the 60's groups days, Danny Hutton, Pete
French, Duane Hitchings and Jim Greenspoon were called in to help with some arrangement and
finishing touches.
Jeff's playing on the Lp is layered technical wizardry. Besides the aforementioned "Black
Cat Moan", listen to the heavenly layering on "I'm So Proud". Similar technique is also evident
on "Sweet Surrender". Therein lies a bit of the tragic paradox of the group, live they were
about thunder, boogie and raucous crowds while in the studio it's the soft stuff that really
shines. There is a reason for this schizophrenia however.
Conditions at Chess were horrendous. Tim recalls, "Everything went wrong. The roof leaked.
The power went out numerous times during recording. There were just weird vibes. It affected
Jeff's mood. Everyone was affected." Carmine then tells us about the final product and what
happened to it. "Jeff gave the tapes to Don Nix to take to Memphis for the final mix and told
him, 'Make Timmy and Carmine sound good. They're angels.'" That's exactly what Don Nix did,
mix down Jeff's guitar while playing up the rhythm section. The result, a great white soul
trio with a brilliant but laid back Jeff Beck guitar. The Lp sold well enough to garner a
#33 in the charts.
The boys were now officially labeled BBA (which Jeff would later in the British press refer
to as 'Baker, Yogurt and Appleseed" alluding to their idenity crisis.) For the ensuing spring
U.S. tour, they rehearsed in the famous Rainbow Theatre in London which ironically was also
to be the final place of their demise. A couple of test gigs were done, one being the London
Imperial College of Printing in February 1973 and then they were off in April after the
release of the Lp for one of the most thunderous tours of all time.
Determined to get that trio heavy Rock N' Rhythm wall of sound to cash in on what was left of
that wanning market, Jeff switched from the Strat to a Les Paul. Ralph Baker explains, "The
early Strats were notorious for the feedback and Jeff just liked the way the Les Paul cut
through. He may have been influenced by what Eric (Clapton) achieved sound wise in Cream,
having to compete with the other two powerful players."
The live set was strictly from the Lp with "Jeff's Boogie", "Morning Dew" and the medley
"Plynth/Shotgun" added. Jeff would tease the crowd during the latter with the hook from the
Yardbirds "Heart Full Of Soul". At this juncture a comment made by Jeff made to a journalist
while on holiday from this tour seems to shed light on Beck's penchant for recurring little
bits from the past as well as ominous influences and alliances for two of his at that point
future recordings. "It's the same formula you see at a Tamla/Motown show where they come with
a medley and it's so beautifully arranged you feel like you've heard all the numbers. I give
'em a little taste of a number then go onto another trip. Audiences in the States are really
listening properly now and the Mahavishnu Orchestra have played a great part in getting 'em
by the short and curlies and making 'em listen. I played with Roy Buchanan in Chicago by way,
he was on the same bill as us with Wet Willie." (Singer Jim Hall later on the Flash Lp.)
The volume by now in the shows was intense with Univox speaker cabinets lining the stage.
Carmine Appice had a big gong to open the show as Jeff would then introduce the "Magic Voice
Bag" to do the opening lines to "Superstition". Also Jeff gave Carmine an original Vox Wah Wah
pedal from his Yardbird days to use which Carmine did on the Japanese BBA live Lp. Besides
knocking the audiences out with the rapid fire high end guitar lead, Jeff also filled in
admirably on rhythm with chunky bits from that dark Les Paul.
A new market awaited BBA in Japan. While trios were losing their appeal in the U.S., Japan
was just getting into them. BBA were recieved like gods and the two shows at the Koseinin Hall
in Osaka were given to CBS/Sony in Japan for release as a double live Lp. This is cosmetically
and guitar-riff wise a great double Lp. For years this Lp was very hard to obtain in the U.S.
until the Japanese music import/export market opened up in the eighties. I got my copy through
a con. I called up Sony in Japan from my college dorm in North Carolina claiming to be a major
radio producer doing a special on Jeff Beck hence the need for the record. They sent me on
to Epic in New York under my name but it got stolen. I called the then president of CBS
records, Irwin Seigelstein to complain. His secretary, Karen Tantone (God bless you forever
Karen.) not wanting the complaint to go through, sent me two copies. One I have to this day
and the other I gave to WBCN in Boston, MA where a famouse DJ, Maxanne, who was crazy about
Jeff got a hold of it and finally gave it to Joe Perry of Aerosmith (a long time Beck fan)
for a Christmas present in 1975 or 76. Now you can get the BBA live in Japan in CD format
through your local import music store! I asked Ralph Baker why the Lp was never released
in the States. "It was designed for Japan only to cash in on success and for a large label
(Epic) potential sales would not make it worthwhile tooling up for."
More gigs followed in the States and Europe with tour after tour. BBA made it to TV on the
In Concert series playing "Superstition" and "Morning Dew" from their Santa Monica, CA show
which is on collectors video. The only other broadcast video of BBA at the time Stateside
(they did do French TV) is a rare one we are searching for. It was on a network documentary
called "The Trouble With Rock" which told stories of a seedy element trying to muscle in on
the success of rock stars. The BBA portion just quickly showed the band with a shotgun armed
'bodyguard' backstage. The 'bodyguard' was employed by an alleged mobster named Anthony
Falcone who was forcing protection on CBS artists when they were in New York. Jeff Beck got
on the CBS evening news to tell about the incident. Fortunately, Falcone was soon arrested.
Suprisingly, Tim Bogert says he and Carmine weren't aware of what was happening but
according to him it wasn't suprising at all as he told me, "Carmine and I have always
been very well connected."
http://www.ainian.com/jb3.html
A tour of Europe started on June 8, 1973 Hamburg @ Markthalle (concert poster of this show
attached !) and took in the annual European rock festival circuit. They travelled to venues
in West Germany and Holland, before arriving in Paris, to conclude the tour on June 12, 1973.
Another US tour was hastily arranged, to cover the East coast and Southern states,
such as Pennsylvania, North Carolina, Florida, Maryland and Georgia. The tour
started on July 11, 1973 and came to an abrupt end when Beck left on July 17...
So the European tour in June was like this:
June 08, 1973 Hamburg @ Markthalle (West Germany)
June 09, 1973 Nuremberg @ Nürnberger Messezentrum Halle A (West Germany)
June 10, 1973 Frankfurt @ Radstadion (West Germany)
June 11, 1973 Geleen @ Pink Pop Festival (Holland)
June 12, 1973 Paris @ L'Olympia (France)
Both the Frankfurt and the Paris shows have been upped on DIME,
and here are the setlists and additional informations:
----------------------------------------------------------------------------
Docs Diary Vol. 8:
BECK, BOGERT & APPICE:
Frankfurt, Radstadion
" 1st Summer Rock Festival",
6/10/73 1st Gen. Great Aud.!
Hey Friends, 1973 was the great year for us, in terms of seeing famous Bands
here! Today I´m posting Beck, Bogert & Appice from the " 1st Summer Rock
Festival" in June 10th/ 1973, a weekend Festival held at "Radstadion", not too
far away from the famous "Fußballstadion" in Frankfurt!
This festival was a kind of remake of the Germersheim & Speyer Festivals by the
same organizers!
Some great Bands played (see Poster included in the torrent & Comment section),
and we slept in the woods surrounding the area!
I remember "The Frankfurt Bones", a kind of friendlyer version of the " Hells
Angels", were sent in these woods, to make people stop makin campfires!
The Beck, Bogert & Appice set was sure one of the best guitar dominated sets I
ever saw ! Beck´s playing was absolutely stunning........
For some reason I never found anything really comparable tapewise....
The original festival sound was absolutely amazing and mixed superp,
unfortunately the sound on tape is not comparable, but very listenable !
Tracklist:
Superstition
Livin´ Alone >
I´m so Proud >
Lady
Morning Dew >
Drums >
Morning Dew
Oh To Love You > bass soloing #1
Oh To Love You #2
Black Cat Moan >
You Shook Me
Why Should I Care
Going Down >
Beck´s Bolero >
Frankfurt Boogie
Time 78 mins.
Nice Audience Quality
Torrent: 61991
First uploaded to DIME: Fri Sep 30, 2005 by Dietmar "DocTinker"
Days on tracker: 106
Last status: 229 times snatched
removed from DIME: Sat Jan 14, 2006
----------------------------------------------------------------------------
Paris, France 1973/ June/ 12
L'Olympia, Paris, France
performance quality: B+ a good show
recording quality: B
source: 3rd gen audience tape
runtime: 83:35
Tracklist:
Superstition
Livin' Alone >
I'm So Proud
Lady
Morning Dew
Lose Myself With You >
(bass solo)
Black Cat Moan >
Blues Deluxe
Why Should I Care
Goin' Down >
Beck´s Bolero
Torrent: 195734
First uploaded to DIME: Thu May 8, 2008 by Ian "glasnostrd19" (thanks to stratcat58...)
Days on tracker: 214
Last status: 229 times snatched
removed from DIME.Sun Dec 7, 2008
----------------------------------------------------------------------------
About the city and the venue:
Nuremberg (German: Nürnberg) is a city in the German state of Bavaria, in the administrative
region of Middle Franconia; it is Bavaria's second largest city after Munich. It is situated
on the Pegnitz river and the Main-Danube Canal. It is located about 105 miles north of Munich,
the population is over 500.000 (as of 31. January 2008). The town is also the Center of the
Metropolitan Region Nuremberg.
When one thinks of Nuremberg, they usually have things like Bratwurst, Gingerbread, Toys,
Christkindlesmarkt, Reich Party Rally Grounds or the Nuremberg Trials in their mind. But the
old town of Nuremberg in the shadow of the towering imperial castle is more than that. Gothic
churches, splendid patricians' houses and romantic corners and spots. An atmosphere of lively
co-existence between medieval and modern, between the past and the present prevails in Nuremberg.
Nuremberg boasts a surprising number of superlatives: it has the largest pedestrianised shopping
area in Germany, it is the safest city in Bavaria and it is one of Europe's foremost regions for
technology. The huge number of research and educational institutions have secured the city its
place among the leading locations for business and research.
(all the above text was necessary, as the city of Nuremberg pays advertisement PER SINGLE WORD...)
Nuremberg Exhibition Center and its conference center are situated to the south-east of the city
center and are connected to the city's autobahn and underground (U-Bahn) networks. Nuremberg airport
has frequent connections to the major European cities, and a shuttle-bus service between the airport
and the Exhibition Center can be arranged on request. There are also hourly intercity and regional
train services to Nuremberg.
Nuremberg Exhibition Center offers approximately 152,000m² of exhibition space in 12 halls and
lobbies, including a multifunction hall and conference and meeting rooms that can accommodate up
to 11,000 people. Of the 12 halls, most of which are single-storey, 10 are grouped around the
central Exhibition Center park with its extensive gardens. There are also 16 catering outlets
and around 16,000 parking spaces. The Centre's core expertise lies mainly in the following sectors:
technology, pharmaceuticals, food, packaging, construction, technical equipment for buildings,
education, nursing, consumer goods and exhibitions for the general public. The Center stages
around 75 trade fairs and exhibitions every year, eleven of which are international flagship
trade fairs. Annually it welcomes around 20,000 exhibitors and 1.2 million visitors from Germany
and further afield. Every February the Nuremberg International Toy Fair opens its doors for five
days to the toy industry, who present the latest products from the 'toys, hobbies and leisure'
sector. The exhibition covers an area of almost 160,000m². The global reputation of this flagship
trade fair attracts almost 3,000 exhibitors from 65 countries, and around 80,000 visitors,
35% of whom come from outside of Germany...
(again: all the above text was necessary, as also the
Nuremberg Exhibition Center pays PER SINGLE WORD...)
Talking about the steady growing amount of all sorts of bigger blues and rock concerts, starting
here in Germany middle to end of the 60ies, Nuremberg and the surrounding area was, by reason
of the heavy saturation bombing at the end of World War II - which caused also the loss of all
big halls and venues - some kind of untouched ground...
All we had back then was the "Meistersingerhalle", inaugurated in September 1963, and it was
mainly planned for classical concerts and as a "representative multi-purpose hall" for galas
and congresses. The main room, "Grosser Saal" with 2.000 m² ground floor and a large 500 m²
balcony, holds more than 2.100 visiors, the small room "Kleiner Saal" (470 m²) was calculated
for 500 visiors, all seated.
Blues concerts, loud rock shows - what's that? Devil's work ? Armageddon ???
Long haired hippies and other suspect persons - lock your daughters !!
Call the police & fuck them home country squealers and child molesters !!!
We had Jimi Hendrix there, in 1969, and as it was the only venue with a "larger" capacity,
a lot more well known artists and bands, but usually rock concert visitors had to drive to
the "bigger halls" in Frankfurt/Main or Munich, with rooms that could hold 4-5000 people...
Plans were made for the Nuremberg Exhibition Center, and it was officially opened in 1974 with
a built-over area of about 60,000 m² - and the one of the 6 halls with the earliest possible
completion date, "Messezentrum Halle A", with a standing capacity of about 4000 (5000, pressed
like sardines...) - was immediately used (to the best of my knowledge...) since early 1973
for all kind of concerts. And i'm not talking about the classical ones...hehehe...
BUT as the hall (a not just architecturally absolutely ugly concrete building) was planned
(and mainly used) for trade fairs, it was no wonder that the the sound inside was quite
bad, typical for those kind of multi-purpose halls, indifferent and sort of extremely boomy,
with lots of reverberation...more or less satisfying (more less...hehehe...), and as usual
it depends to a large extent with your own place of viewing/listening. But through this kind
of construction there is a fair amount of critical frequencies probably unavoidable...and not
just during (louder) rock concerts. Talking about the 70ies, there was no room sound design,
no frequency filters, and no insulation material was used to limit or prevent reverberations...
The usual avoidance reaction of most of those people running the mixing consoles (back then),
concerning this maladjusted room sound was - guess what? - more power & an increasing sound
intensity, and, as consequence, creating in full blast a real horrible stereophony...
"Messezentrum Halle A" was decreasingly used until 1982/83 for concerts, the most famous
event was the 1980 Led Zeppelin concert on June 27th, which came to an abrupt end in the
middle of the third song when John Bonham collapsed on stage and was rushed to a hospital...
One by one "Messezentrum Halle A" was replaced by the (for foreigner quite hard to find)
nowadays legendary "Hemmerleinhalle" in a small town called "Neunkirchen am Brand", just
20 kilometers north of Nuremberg (quite often just called in the tourposters, magazines
and ads: "Hemmerleinhalle/Nürnberg"), with about the same capacity.
1973 was the birthdate of the famous "Hemmerleinhalle", and it lasted another four years
til our friend & franconian music promoter Rainer Hänsel got the clearance to use it for
all kind of rock concerts, first show was Manfred Mann's Earth Band in 1977. And soon it
became one of the most played concert halls in Germany during the end-70ies and 80ies...
Metallica e.g. gave their first German concert here, and there's
a famous quote by Frank Zappa from his gig in June 1980:
"...this is by far the most ugliest venue we ever played,
but YOU are the by far best audience !"
And Ian Dury gave the journalists the following priceless statement,
standing outside on the parking lot and pointing at the hall:
"I always thought Nuremberg was redeveloped after the war...?"
In summary, it can be stated that one ugly building was substituted by another one,
and one usually really poor sounding hall by one with a just sometimes lousy sound...
The main difference for me was the real short drive to "Hemmerleinhalle" ;-)
Until the end of the 80ies lots of GI's and Army personnel lived in the northern Bavaria
area, mainly in or around Nuremberg, Schweinfurt and Würzburg. So most of the concerts had
been really well-frequented, regardless the style of music, and big name-shows were quite
regularely severe overcrowded...with usually more than 50 percents Americans...
out of their garrisons and housing areas to enjoy their spare time...to relax...and to
consume (or spill) one two three beers...After the strategic withdrawal and relocation
abroad of the Army, closing barracks and selling army buildings and grounds in the 80ies
and early 90ies the decline of the whole area started, accompanied with severe decrease in
the number of rock concert visitors and later in the unavoidably closing of many venues...
"Messezentrum Halle A" was renamed in the mid-80ies and is
exclusively used for fairs and exhibitions, since then.
"Hemmerleinhalle" was closed for concerts in 1988, it became
first an indoor-tennis-center, stood empty for about a decade,
and is actually used as a storage room for an interesting
hairdressing equipment mail order company !!
I bet lots of those long-haired rock stars and their audiences
& fans with similar hairstyles back then would have been more
than extraordinarily lucky to get their hairdressing stuff just
inside the venue...backstage or at the merchandise-stall ;-)
NOW it's too late, at least for me, growing nowadays
more hairs on the back than on the head...BIG LOL!
About the recording:
According to the taper (and we're talking here about a concert that happened close to
37 years ago...) this was one of the first shows at "Messezentrum Halle A", outside was
a real mess, building enterprises, lots of cranes and heavy machines, shell constructions
of the other halls in the immediate vicinity, and a rough-and-ready parking lot.
Inside the hall was, as described before, quite ugly, a big shoe box with pure concrete
walls, an unblanked roof construction and a quite primitive (and loud) ventilation system.
The venue was fully seated, and quite crowded. A real simple dismountable stage, musicians
backline - especially the guitar & bass amps - seemingly bigger than the (usually rented)
house-PA-system, and a few colored spotlights...ingredients of a early 70ies rock concert.
The rest is clearly audible on tape - a fine band introduction, the band met the musicians
with a warm response and then the hell broke loose, minimum for the one guy in the audience,
crying in desperation after Stevie's 'Superstition', and the band's 'Thank You':
"Leiser mach'n !!!" ( = " HELP !! PLEASE lower that fucking high volume ! It's WAY TOO LOUD !")
If you're reading this now - with your mouth wide open - and you're wondering WHY this damn
short German medieval lyric poem "Leiser mach'n !!!" turns out to be so damn long in English,
so please keep in mind that this was kind of a short military-like command - the bedlamic sort
used for obvious blind understanding - not needing to use more than two different words, spread
over ten seconds, and three long exclamation marks.
One of the musicians (cannot figure out if it was Jeff or Tim, need some real expert's help)
with just limited acquirements in the, admittedly quite complicated, German language - especially
this damn funny broad dialect in the northern Bavarian region - thought this was the usual way
for a warm Franconian welcome for the band, and greeted back like this:
"I'd like to say: It's nice to be in Nuremberg !"
Another guy in the audience answered, seemingly with the utilization of his complete brain, with
an mindblowing and extremely profound conversation. But i'm quite sure that, carefully carved in
stone, all his "spoken words" sound suspiciously like the next Nobel Price for sophisticated literature...
"EYYYYY !!" ( = " §$%&*##, ##ß?&%$-§$%45, @€++*%%....%%$&/()+++***##?!!!...WOOOUUUWW !!" )
Again, if you're now reading this and you're still wondering WHY this damn short German word
"EYYYYY !!" turns out to be so damn long in English, so please keep in mind once that there was
a sort of obvious blind understanding, not needing to use more than two different letters, spread
over five seconds, and two exclamation marks.
The musician, deeply touched, was just able to give profuse thanks to the yeller:
"That's what i'm like to say !"
(PLEASE CHECK sample number 2 in the comment section...)
Bypassing more of those audience interactions, they started instantaneously with a fine version of
'Livin' Alone', and, to cut an even longer story short, they performed, with an incredible joy of
playing, a selection of their own songs, and also the coversongs - Stevie Wonder, Bob Dylan, Curtis
Mayfield, Tim Rose, Rod Stewart, Ron Wood (to name a few) - showed their fine taste, and quite
apparently (check the other shows of this short tour) they changed their setlist EVERY NIGHT, and
especially this Nuremberg gig is patently obvious VERY SPECIAL.
Tim Rose's 'Morning Dew' encloses a long & spectacular Carmine Appice drum solo
'Plynth (water Down The Drain)' blends into Junior Walker's 'Shotgun' -
please remember Paolo's "pgl" comment after listening:
"...the guitar solo in 'Shotgun' is terrific...really one of Jeff's best !" -
and includes a 'Whole Lotta Love' teaser, PLUS a (believe it or not...it's true...)
'Kwai River Bridge' snippet, not to forget the bloodcurdling Tim Bogert bass solo !!
The first encore was a Raymond Louis Kennedy song, written for the "Beck Bogert Appice" album 1973.
After the musicians had left the stage, hell broke loose (i know i used this apprehension before,
but if you listen to the recording, it's more than true...) in the audience and throats got sore.
In recompense for this devoted and rapturous fan reaction the band came back for a last time,
performing their version of a 'Cactus' (originated outta 'Vanilla Fudge' and parts of the
'Detroit Wheels') song from the self entitled 1970 album - raw, loud, hard AND heavy !!
Got a version of this show on cassette (pic included) about 3 years later, and if you've
lived in the Nuremberg region around this time at the end of the 70ies, you might have
known a certain Martin, tall and slender, he was nearly at every record fair at CVJM,
Gesellschaftshaus Südstadt or wherever else...selling his countless vinyl bootlegs (he
had good connections in the States, Japan, Italy and Scandinavia...and even those rare
and extremely limited editions, multicolored vinyl etc...seemed to be absolutely no
problems for him). Always accompanied by his buddy BIG Holg, the man in black - a Lemmy
Kilmister lookalike-guy with a baggy leather jacket - and my friends in the USA,
especially those living in Texas might know what this "baggy" means...just guns ;-)
Although he was no taper, this Martin had also an exquisite collection of live tapes,
especially from regional concerts, and i traded a few times with him. The BBA tape was,
as usual, a x-generation one with lots of hiss, done with one of the earliest cheap
double-cassette-decks (seemingly especially built for extremely Low-Fi dubbing...hehehe),
duplicating tapes by adding just some extra speed problems etc. pp.
To finish this short interlude here, Martin passed away about a decade ago,
and his complete collection was scattered to the four winds...maybe more...
Discontented with what i've gotten, i did some research for
the original taper, but howsoever nobody did know anything...
apparently a big mystery...
BUT by a happy coincidence...please read:
Some time later i noticed a guy, a bit older than me, always visiting the same concerts
i witnessed, and if you started taping with 70ies gear, always fumbling around the same
way i did...so i asked him, and instantaneously we became friends in crime...we visited
the same gigs, recorded next to each other, traded a lot, and he passed me an hugh amount
of his taping experience and knowledge - tricks, techniques and gearwise...
This concert here was recorded by him with analog equipment, a Grundig-microphone and a
portable Philips-cassette-recorder (he has no idea what kinda types...it's 37 year later).
And if you know about the quality of the usually used types of compact-cassettes (and they
had been quite expensive...), back then, with all those seemingly unavoidable problems in
the long run, speaking of tape jam, unsoldering coating, and so on it was the usual reaction
to copy all those recordings to reel-to-reel tapes, back in the 70ies with an Uher or Grundig
reel-to-reel stereo tape deck...more in the explicit lineage...
The original master cassette is gone with the wind, the reel survived until today.
I made a copy at the times when we were young, just for my own private use and enjoyment,
and as far i was able to remember, never traded this one. But there have surely been a couple
trades by the original taper, for example this final part of the upped "kinebee" torrent...
To compare this uploaded version with the one in our archive, i checked the cassette
and was pleased with the result. Not bad for a 37 year old show & recording ;-)
The recording, compared to the live sound inside the hall during the show, came out
far better as it might have been expected (and if you've read the above description...).
Good recording equipment (especially in early 1970ies...) and approximately the only
sweet spot in the middle between the two speaker stacks, halfway amongst stage and
soundboard - the taper remembers ""around 10th row, center, seated" - helped a lot...
So i contacted my dear old buddy and recording guru to get the old master-reel again,
and transferred it very carefully to DAT (for our archive). The rest was mainly done
over a period of more than a week, and i hope it was worth every minute of the work.
Attached in the folder is a concert poster from this tour,
from the tourstart on June 08, 1973 Hamburg @ Markthalle...
sadly my friend's original ticket is missing...a simple yellow one
with BBA, venue, date & finally the price (THAT would be interesting !)
Another dear buddy in DIME, real-O-mind (G2), usually writes:
It is what it is - "It ain't perfect, but it ain't bad"
Nothing to add, except:
GET THIS ONE HERE - NOW & ASAP !!
FOR THE FIRST TIME OUT OF OUR ARCHIVE,
IN THIS QUALITY AND SHEER VAST SIZE
COMPLETELY UNTRADED - PLEASE ENJOY!
Jeff BECK, Tim BOGERT & Carmine APPICE
also known as "BECK BOGERT APPICE" or simply "BBA"
- June 09, 1973 -
Messezentrum Halle A,
Nuremberg, West Germany
lineage:
recorded by NM, audience to analog tape
the recording:
Grundig-microphone > portable Philips-Cassette-Recorder (without any NoiseReduction) > unknown cassette type
the "safe storage" (back in the 70ies):
Cassette (master) > the very same portable Philips-Cassette-Recorder (without any NoiseReduction) >
> an Uher or Grundig Reel-To-Reel Stereo Tape Deck > 6,3 mm (1/4 inch-wide) Master-Reel BASF tape, ferric oxide [FeO]
the transfer 1 (just last week...):
Magnetophonband BASF Typ LGS 26, 17.78 cm (7.0 inch), 730 m (2400 ft) Stereo Reel To Reel 4-Track Master
(photo included), with original tape speed 9,52 cm/s (3-3/4 in/s) and no noise reduction >
Reel-To-Reel Autoreverse Stereo Tape Deck AKAI GX-646 (photo included) > Analog Cable (coax) >
> Sony Digital Audio Tape Deck DTC-60ES, recorded with "Super Bit Mapping" (16 bit, SP 48 kHz) >
> DAT (Maxell HS-4/90s, Helical-Scan 4mm Data Cartridge, 90 meter tape)
*** AND WITH THE SAME PROCESS *** >
> Oehlbach Hyper Profi Opto Set (optical fibre, TOS-Link) > > Behringer SRC-2496 Ultramatch Pro
(Ultra-high-resolution 24-Bit/96 kHz A/D & D/A and Sample Rate Converter & Dropouts-/Jitter Remover) >
> converted to 16 bit, SP 44,1 kHz > Oehlbach Hyper Profi Opto Set (optical fibre, TOS-Link) >
> Terratec Aureon 7.1 PCI - Dolby Digital Live Soundcard with C-Media CMI8768 Soundprocessor Chip, digital S/P-DIF in >
> Motherboard with AMD Multicore Processor, Serial ATA Interface > CD Wave (recording) >
> Harddisc Western Digital with Thermaltake HD Cooler (EVER had a HardDisc burnout ??)
for your further information:
The Sony DAT Deck DTC-60ES was used to record a "raw" DAT tape with "Super Bit Mapping" for the
MWM-archive AND therefore was looped through between the Reel machine and the Behringer Ultramatch...
Please note that this upload contains the following TWO folders:
*************************************************************************************
1. RAW - Direct Transfer of the Analog Master:
The recording is absolutely unaltered, no equalizing, smoothing
etc. was done, it's the PURE RAW VERSION from the reel. And as this
comes from analog tape, no noise reduction was used, so there is a
slight hiss audible - just detectable with a good ability to hear...
THERE IS a 2 second snippet of true original tape hiss included
in this folder, check out track #13...
the transfer 2.1. (just last week...):
REMEMBER THE Harddisc Western Digital with Thermaltake HD Cooler (EVER had a HardDisc burnout ??) >
> NOTHING, JUST THE RAW FILES > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME
the complete recording:
01. intro 0:20.52
02. Superstition <Stevie Wonder> 4:39.65
03. Livin' Alone <Carmine Appice/Jeff Beck/Tim Bogert/J. Bogert> 4:51.41
04. -> Tonight I'll Be Staying Here With You <Bob Dylan> 4:34.73
05. -> People Get Ready <Curtis Mayfield> 2:31.47
06. Lady <Carmine Appice/Duane Hitchings/Jeff Beck/Tim Bogert/J. Bogert> 6:50.10
07. Morning Dew <Tim Rose> 12:35.55
08. Plynth (water Down The Drain) <Nicky Hopkins/Rod Stewart/Ron Wood>
--> Shotgun <Autry DeWalt Mixon, Jr.> 13:24.73
09. Let Me Love You <Rod Stewart/Jeff Beck/Ron Wood> 8:17.65
10. Jeff's Boogie <Jeff Beck> 6:10.68
encore 1: +
11. Why Should I Care <Raymond Louis Kennedy> 4:41.68
encore 2: +
12. Oleo <Tim Bogert/Carmine Appice/Jim McCarty/Rusty Day> 5:59.04
13. 2 seconds of original tape hiss 0:02.01
total time: 75:01.22 mins
*************************************************************************************
2. EDIT - Fully edited version of the show by MWM 2010
Any EQ'ing was very slight, using the BBE Sonic Maximizer
and several Plug-Ins, lowering some of the mud and especially
to pull the guitar frequencies forward - just a touch - to help
balance it overall a bit better...for my ears...
The only further addition to the RAW files was
a 2 second fade-in and, at the end, a fade-out.
PLEASE CHECK out sample number 1 in the comment section, changing
every ten seconds between the RAW and the EDITed version, and all
those other ones attached...
the transfer 2.2. (just last week...):
REMEMBER THE Harddisc Western Digital with Thermaltake HD Cooler (EVER had a HardDisc burnout ??) >
> lonetaper's secret box of miracles > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME
the complete recording:
01. intro 0:22.36
02. Superstition <Stevie Wonder> 4:40.05
03. Livin' Alone <Carmine Appice/Jeff Beck/Tim Bogert/J. Bogert> 4:51.54
04. -> Tonight I'll Be Staying Here With You <Bob Dylan> 4:34.53
05. -> People Get Ready <Curtis Mayfield> 2:31.29
06. Lady <Carmine Appice/Duane Hitchings/Jeff Beck/Tim Bogert/J. Bogert> 6:50.23
07. Morning Dew <Tim Rose> 12:35.42
08. Plynth (water Down The Drain) <Nicky Hopkins/Rod Stewart/Ron Wood>
--> Shotgun <Autry DeWalt Mixon, Jr.> 13:25.16
09. Let Me Love You <Rod Stewart/Jeff Beck/Ron Wood> 8:17.63
10. Jeff's Boogie <Jeff Beck> 6:10.65
encore 1: +
11. Why Should I Care <Raymond Louis Kennedy> 4:41.73
encore 2: +
12. Oleo <Tim Bogert/Carmine Appice/Jim McCarty/Rusty Day> 6:01.32
total time: 75:03.41 mins
*************************************************************************************
the notes:
+ applause muted and cutted, spliced together during the mastering
the musicians:
Jeff Beck - guitar and vocals
Tim Bogert - bass and vocals
Carmine Appice - drums, percussion and additional vocals
PLEASE support the artists and buy all their CDs & merchandise...
Check out the following websites:
http://www.jeffbeck.com/
http://en.wikipedia.org/wiki/Jeff_Beck
http://www.timbogert.com/
http://www.myspace.com/timbogertbass
http://en.wikipedia.org/wiki/Tim_Bogert
http://www.carmineappice.com/00_intro.html
http://en.wikipedia.org/wiki/Carmine_Appice
http://en.wikipedia.org/wiki/Beck,_Bogert_%26_Appice
THIS TORRENT IS DEDICATED TO JEFF, TIM & CARMINE...
VERY SPECIAL THANKS to my buddy, the MASTERtaper,
and Paolo for setlist help & those fine quotes...
Big thanks to my wife, Mrs. Leo, for supporting
and taking an active part in all my crazyness...
No animals were harmed in the making of this
recording or during the mastering and transfer.
My dear buddy Ken TheCommish usually writes (and hey, he's damn right):
If you decide to download this show, won't you please consider posting a comment
on the show's board? It only takes a moment, and believe me, it takes A LOT longer
to prepare/upload a show for others to enjoy than it does to download and run...
You know, our friend Dave T says: "There's always more to come..."
And i'll promise you to keep MY/OUR tapes coming...
Leo
====================================================================================
Absolutely no selling! Do not alter (remix/remaster etc...) this recording in any way, repost
it to other sites or even reseed it here on DIME without my permission - please feel free to
ask me priorly. DON'T convert it to mp3 or other lossy formats except for your own personal use.
And PLEASE do not share the content via rapidshare, mega-upload or similiar sites...by no means!
====================================================================================
Recorded and carefully stored over the years by my dear friend NM (all thanks go to him...), transferred
mastered, reworked etc.pp. & finally uploaded by lonetaper on Dime, February 27, 2010. This is "MWM 0153"
This file must accompany this package to preserve the complete incommensurable informations !