. . . not often I come across a piece by Eno that I haven’t heard but there’s a first time for everything eh? so might sign off the day with his contemplative piece from Eno and the boys!
Saturday, May 16, 2026
Sarah McLachlan - Capitol Theater, Port Chester, NY, 12-5-2015 | Albums That Should Exist
Sarah McLachlan - Capitol Theater, Port Chester, NY, 12-5-2015
At the time of this concert, her most recent studio album was "Shine On," released in 2014, over a year earlier. She sang seven songs from that album. But it was an extra long concert, so she sang plenty of her earlier songs as well. She also sang "River," by Joni Mitchell. According to setlist.fm, she only performed that song three times that year, all of them during the Christmas season like this December concert.
The music here is unreleased. The sound quality is excellent.
This album is an hour and 59 minutes long.
01 talk
02 In Your Shoes
03 Building a Mystery
04 Adia
05 Answer
06 talk
07 Broken Heart
08 Fallen
09 talk
10 World on Fire
11 Hold On
12 talk
13 Loving You Is Easy
14 talk
15 Monsters
16 Stupid
17 talk
18 talk
19 Song for My Father
20 I Will Remember You
21 talk
22 Brink of Destruction
23 talk
24 River
25 Elsewhere
26 Fumbling Toward Ecstasy
27 Witness
28 Fear
29 Sweet Surrender
30 Possession
31 Angel
32 talk
33 Beautiful Girl
34 The Sound that Love Makes
Pink Floyd - Allen Theater, Cleveland, OH, 4-24-1972 | Albums That Should Exist
Pink Floyd - Allen Theater, Cleveland, OH, 4-24-1972
Back in the 1960s and 1970s, Pink Floyd made no attempts to record themselves in concert. So the relatively small number of excellent sounding recordings we have are due to lucky chance, like the times they were recorded by the BBC. One unfortunate gap due to this is there's no great live recording of the "Dark Side of the Moon" album from 1972 or 1973. (There is one from a 1974 BBC broadcast.) For a long time now, I've especially wanted to hear what that sounded like in 1972, because the band performed that album in concert for over a year before recording it, and there were a lot of changes along the way. So it's pretty damn shocking to me that, 54 years later, a recording of this quality showed up on the Internet in the last couple of weeks. (I write this in mid-May 2026.)
This is an audience recording. Normally, that's a step below a soundboard or radio broadcast, sometimes several steps below. But not in this case. In my opinion, this sounds as good or better than most soundboards from the era. Previously, most people felt that a concert recording from the Rainbow Theatre in London on February 20, 1972 was the best live recording that included an early version of Dark Side. However, there were some big flaws with that, including some big chunks of the quality recording that were missing and had to be filled in with a much inferior recording from another source. I think this sounds better all the way through, and there are no missing chunks or other flaws like that.
I've included a PDF file that explains the story of how this recording was made public so many decades after the show. So read that if you're interested. That story makes me wonder what other audio treasures are still sitting in people's houses, forgotten or hoarded.
I made one big change to this already fine recording. I ran all the songs through an MVSEP audio filter to get rid of ambient crowd noise. At the time of this concert, in early 1972, Pink Floyd was more of a cult band, with a decent sized devoted fan base. As a result, the crowd listened very attentively and respectfully. So there wasn't much crowd noise to begin with. But I got rid of all I could during the songs, while keeping the cheering at the ends of songs. There wasn't a lot of even that because the Dark Side portion of the concert was played like one big song medley, with few occasions for the audience to really cheer until the whole album was over. Plus, the music of that album was brand new to everyone, so one didn't have the usual phenomenon of big cheers when recognizable songs started.
Additionally, there was very little in the way of random "woo-hoo" noises and talking during this recording. I found a little bit of that on two tracks, and ran those two through an extra MVSEP filter to get rid of that. Oh, and I also got rid of some dead air between songs. In particular, there were a few minutes of the sound of the crowd while the band took a short intermission at the end of the Dark Side portion of the concert. I got rid of that entirely.
Note that two songs that were a part of Dark Side at this point were later totally changed, with only a vague concept staying the same. "The Travel Sequence" was replaced by "On the Run." And "The Mortality Sequence," also sometimes known as "Religion," was replaced by "The Great Gig in the Sky."
This album is an hour and 58 minutes long.
01 Speak to Me [Instrumental]
02 Breathe
03 The Travel Sequence [Instrumental]
04 Time - Breathe [Reprise]
05 The Mortality Sequence [Instrumental]
06 Money
07 Us and Them
08 Any Colour You Like [Instrumental]
09 Brain Damage - Eclipse
10 One of These Days [Instrumental]
11 talk
12 Careful with That Axe, Eugene [Instrumental]
13 Echoes
14 talk
15 Set the Controls for the Heart of the Sun
As I have said before I stopped sharing links to audience recordings to focus on soundboards as there just so many great sounding ones they kind of put audience attempts to shame but this sounds like a challenge from Paul over at ATSE lets see shall we?
Pink Floyd - Sheep [Animals 1977] | HERBERG DE KELDER / barrymanifold
Pink Floyd - Sheep
[Animals, 1977]
[Animals, 1977]
Harmlessly passing your time in the grassland away,
Only dimly aware of a certain unease in the air…
That’s what you get for pretending the danger’s not real,
Meek and obedient you follow the leader
Down well trodden corridors into the valley of steel
What a surprise!
A look of terminal shock in your eyes
Now things are really what they seem,
No, this is not a bad dream…
Bleating and babbling we fell on his neck with a scream
Wave upon wave of demented avengers,
March cheerfully out of obscurity into the dream
Have you heard the news?
The dogs are dead!
You better stay home,
And do as you’re told,
Only dimly aware of a certain unease in the air…
That’s what you get for pretending the danger’s not real,
Meek and obedient you follow the leader
Down well trodden corridors into the valley of steel
What a surprise!
A look of terminal shock in your eyes
Now things are really what they seem,
No, this is not a bad dream…
Bleating and babbling we fell on his neck with a scream
Wave upon wave of demented avengers,
March cheerfully out of obscurity into the dream
Have you heard the news?
The dogs are dead!
You better stay home,
And do as you’re told,
Get out of the road if you want grow old
HERBERG DE KELDER
The Beatles - Piggies [remastered 2009] THE WHITE ALBUM*
For all alt/Right Wing Fascists everywhere . . . . . .
*designed with artwork by Richard Hamilton
Richard and long term partner Rita Donagh
HAYLEY WILLIAMS & Paramore - Behind The Scenes - BURNING DOWN THE HOUSE [feat. Hayley Williams]
Paramore - behind the scenes - Burning Down The House
Paramore - Burning Down the House from A24 Music's 'Everyone’s Getting Involved,’ a tribute to Talking Heads’ Stop Making Sense out now: https://a24music.lnk.to/BurningDownth...
Site: http://paramore.net
Spotify: http://paramore.net/spotify
TikTok: / paramoreofficial
Facebook: / paramore
Instagram: / paramore
Twitter: / paramore
Hayley Williams - Parachute 2026
Another hit from Kelly Boesch - Not Made For The Cage(with Marshall Altman)
I’ve written a few songs about my childhood, and this is another one. I grew up in a Midwestern town where most people conformed to fit in and not stand out, and I just always felt so out of place. I loved to wear and make very different clothes; I loved fashion even as a young girl. I think so many kids go through this. I always knew I would leave there for a place where I could just be myself with others who felt the same.I ended up in Los Angeles, where weird thrives. In LA, I was actually pretty “Midwest boring”, not at all different or strange. But I was living my best life and met so many lifelong friends.I always say it’s harder to make a video after writing the song. I really don’t like making videos that tell exact stories. I prefer an abstract representation that allows the viewer to interpret it any way they want. I made a video a while back using this style reference with these strange faces, and for some reason, I thought of using them again. The way they stand out against the people walking around them. I love how it works with the song.Thank you to Marshall Altman for the guitar and synth he added to the song, and for the additional production and mixing. This is for sure one of my favorite songs I have written. Working with Marshall has been so wonderful. We had our first co-write a few weeks back and made a song together that will come out in the next few weeks.This whole process with Nettwerk Records has been really amazing. If someone had told me four or five years ago that I would be writing songs, getting signed to a label, and doing a TED Talk, I would have thought they were insane. NONE of this was even on my radar as a path I would follow. AI has opened doors for me I couldn’t have even imagined. When an artist finds their perfect tool, it can open creativity inside them they never knew they had. Pretty wild.Not Made For The Cage[Verse 1]I was born with paper skinLetting all the feelings inWatching my entire world unwindLeaving all the rules behindTheir strict rules fit like borrowed clothesOn my strange and tender bonesI never felt like I belongA half-remembered, distant song[Pre-Chorus]So my heart I rearrangeEven when they call me strangeIf this world feels hard and vastI will try to move right past[Chorus]I am not made for the cageI don't mind if you find me strange(oh, I am strange)I bloom where the wild wind staysI am not lost, I am trueA star with a different hue(I am true)I was made to outgrow you[Verse 2]The room is full of polished facesAll their smiles in perfect placesI move like rain running down glassA little shy, a little brashMy mind is a sprawling tideWith secret currents locked insideAnd when the night begins to bloomI am the fever in your room[Pre-Chorus]And I hear, beneath the noiseSome soft and ancient joySaying, child, don’t disappearYou were written to be here[Chorus]I am not made for the cageI don't mind if you find me strange(oh, I am strange)I bloom where the wild wind staysI am not lost, I am trueA star with a different hue(i am true)I was made to outgrow you[Bridge]If I am odd, then let me beA little ash, a little seaI do not need their neat designMy broken edges are divine[Final Chorus]I am not made for the cageI don't mind if you find me strange(oh, I am strange)I bloom where the wild wind staysI am not lost, I am trueA star with a different hue(I am true)I was made to outgrow you
J.J. Cale - on sounding the same . . . . . "it just sounds like me!” (Performing Songwriter) Don's Tunes
“People say each of my albums sounds just like the previous one,” says J.J. Cale. “I’ve tried to change, but whenever I finish something, it just sounds like me.”
Lots of fans—including Eric Clapton, Mark Knopfler and Neil Young—are happy that’s the case. Beginning with such songs as “After Midnight,” “Cocaine” and “Call Me the Breeze,” Cale has adhered to a laid-back, economical style centered on groove-oriented guitar lines, low-key vocals and a country-blues vibe. Countless high-profile artists have covered his songs—sometimes injecting them with a heavy dose of blues-rock fuel—but Cale himself has, by choice, remained largely under the public radar."I suppose the biggest compliment a songwriter can receive is when somebody else sings your songs. I’m more proud of the long list of people who have done my songs than, say, the money or the records I’ve made. When someone cuts your song—whether it’s good or bad—you feel great."Source: Performing SongwriterPhotograph by Jay Blakesberg
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