| Camel - Osaka (LDB Special Series #313) |
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| Notes |
| Recorded at the Umeda Heat Beat, Osaka, Japan. Great audience recording. From the info file: LDB Special Series #313 Out of my 7,000+ shows and radio broadcasts, I have many concerts that were special for some reasons: the setlist, the musicians, the venue or unexpected events. These are the ones I'd like to propose you. Most of these come from my cassettes collection, so they will be released at a slower pace than my Master Series! But you won't be disappointed! I will try to gather the most unusual things I have in my collection and, as always, your feedback and comments will be my reward for all the work involved in this project. DO NOT share this music on mp3, just convert it for your own use. Sharing mp3's is the right way to make me stop sharing music here. Let me make a point about musicians who do not allow their shows to be traded / shared for free: 1) Some of those people claim that they don't like others to trade / share their intellectual property. I am not going to remind how really intellectual property works in other sectors such as IT but let's say that these people do care about shows being traded for free while they do not care when photos made by professionals wearing a 'photo pass' are sold and a profit is made beyond their will. Trackers are an easy target to ‘kill’, where individual sites by photographers are more difficult to stop. 2) Some of these artists are themselves listeners / owners of ROIOs both audio and video, although they don't want to admit it. And they are quite embarrassed when it is found out. 3) Most, if not all, of those who record shows do it discreetly since it is well known that the best way to be caught is to show the microphone in front of the artist. Those who really show-off are the ones who like to film a few minutes of the show with their smartphone or camera to keep a souvenir or post it to youtube...Not really a danger... 4) Nobody claims to have the 'right' to record shows. If artists feel that - for whatever reason - they don't want their shows to be shared, fair enough. But they do not have to find irrealistic reasons why they don't want this to happen. Let's say that, if you take the list of artists for which recordings exists (let's say...5000/6000), only a very small minority requires their shows to be banned (let's say less than 50) which is less than 1%. Are they right or wrong? I don't know, let's only say that they just doing the opposite of the big majority, as much as today's world is all about sharing freely as long as this does not cause a financial damage to the owner, which is not the case. 5) The presence of live shows has never been the reason for an artist to be successful. But for some of them it has helped. A lot, especially in the early days. And some of the artists that are today against such recordings are the ones that have probably taken advantage from their shows circulating and building a strong and loyal fanbase. On the other side, artists such The Rolling Stones or Bob Dylan for which live recordings have always been more a pain in the neck (especially in the vinyl boot days) are among those who are ok with such recordings. Strange, isn't it? 6) The Beatles, U2, Led Zeppelin, Frank Zappa, David Bowie, Pink Floyd, Genesis, Rolling Stones, Radiohead, Pearl Jam. What do these artists have in common? They all allow their recordings to be shared. Then one has a hard time to figure out why artists like Artful Dodger, Dickey Betts, Blackfield, ELP, King Crimson, Bo Diddley, John Scofield do not allow it. And the 'excuses' are the most fantasy ones. 'contractual obligations and the wishes of other musicians with differing opinions'; 'They object to the presumption that it’s okay for someone else to barter and trade our intellectual property'. Some others send lawyers letters while it is sufficient a simple email on behalf of the artists to have them in the NAB list. And artists like ELP who are in the NAB list do rip people off by releasing and selling their own crappy live shows recorded with a crappy microphone with an awful sound quality! 7) Recordings are part of the music history, and no lawyer will stop them, especially in this digital era. Thanks to it we have invaluable documents that keep the legacy of the music and make sure that some moments are captured for posterity. If a certain Dean Benedetti did not bring his recorder, we would not have today the privilege to listen to some of the finest Charlie Parker solos that have been saved for music students and jazz lovers to listen and learn. And God bless Mike Millard… Live music recording will always exist, beyond me, you or the artists and his well paid legal department. That, is a fact... CAMEL Osaka, Umeda Heat Beat September 4, 2000 Disc 1 01 Three Wishes 02 Echoes 03 Nimrodel / The White Rider 04 Song Within A Song 05 Chord Change 06 Watching The Bobbins Disc 2 01 Refugee 02 Fingertips 03 Slow Yourself Down 04 Eyes Of Ireland 05 Send Home The Slates 06 Rajaz 07 Sahara 08 Mother Road 09 Little Rivers And Little Rose 10 Hopeless Anger 11 Applause 12 Lady Fantasy TT 118:25 Lineage: Master (unknown recording device) > CD > EAC > SoundForge 7.0 > FLAC Frontend (level 6) Andrew Latimer - Guitars, Flute & Vocals Colin Bass - Bass Guitar, Acoustic Guitar & Vocals Guy LeBlanc - Keyboards & Vocals Denis Clements - Drums & Percussion Quite a few Camel shows around here...I wanted to give my contribution. This comes straight from the japanese taper who put the show on CD for me and your enjoyment. I think these are some of the very early shows from the Rajaz tour. Brand new band and new material. I saw that tour later on in Torino and had a great time. But honestly there is no Camel album or show that has disappointed me... Enjoy! ldb |