DAT-heads Digest #397
Contents:
BOC, S Crow, Jewel masters ("Thomas Avallone")
SGI DAT DRIVES $75 ("datman")
REPOST FS: TASCAM DA-302 MINT $600 (Eric Eckberg)
ISO: Totaly dead da-p1's (Dave K)
Roger Waters (Anthony Patrizio)
Prompted to Reply (Levyrocks@aol.com)
Microphone Guy (literature) (-bob)
ISO Doc Watson 5-25-01 Atlanta (barren)
Hornsby 7/19 (Kevin A Kraska)
RIP alan lomax (pwking)
From: "Thomas Avallone" <tav2367@msn.com>
Subject: BOC, S Crow, Jewel masters
Date: Sat, 20 Jul 2002 02:07:18 +0000
Hi Heads -
Phase I of my heavy taping schedule is over, so I have some time to offer
these for trade:
* 6/21/02 Blue Oyster Cult @ Navy Pier, Chicago
* 6/27/02 Sheryl Crow @ Marcus Amp, Milwaukee
* 7/6/02 Jewel @ Toledo Zoo Amp, Toledo
* 7/14/02 Jewel @ Chicago Theater, Chicago
Because of faulty equipment or cables, I am unable to clone. High quality
CDR's only. I also have upgraded to a U24 Waveterminal for fully digital
transfers....Yes, the SB Platnum card was dumped.
**** PLEASE CHECK MY 'MASTER RECORDINGS PAGE' on my site for minor flaws
with some of the shows, so you know what to expect. *****
www.tav2367.20m.com
At this point, I need to limit trades for newer Sheryl Crow, Jewel, or
Garbage recordings - and I'm always open to PJ Harvey and Chris Cornell
shows that I may need.
Tom
"I've heard there's joy untold
Lays open like a road
In front of me"
~ PJ Harvey
http://www.tav2367.20m.com/
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From: "datman" <datman@midsouth.rr.com>
Subject: SGI DAT DRIVES $75
Date: Fri, 19 Jul 2002 21:11:26 -0500
SGI DAT TAPE DRIVE WITH AUDIO SUPPORT
CTD8000H-S 3.5" form factor drive with rails and 5.25" bezel (i.e.,
CTD8000R-S) This Peregrine series DAT drive has 4GB native capacity with
120m tapes and 8GB hardware compressed capacity. SCSI interface. This
drive supports both data and DAT audio and can read/write audio at 2.2x with
special software for the PC, e.g. VDAT or DAT2WAV. SCSI inquiry string
reports "ARCHIVE Python 01931-XXX 5AC". This drive is used, but has been
tested and is in excellent working condition. No international shipments.
Fixed insured shipping cost of $10 for UPS ground or equivalent. Paypal
accepted for credit card transactions. USPS Money order/cashier's check
also accepted. E-mail datman@midsouth.rr.com with any questions.
Thanks,
Robert
From: Eric Eckberg <shmurg@yahoo.com>
Subject: REPOST FS: TASCAM DA-302 MINT $600
Date: Fri, 19 Jul 2002 20:39:58 -0700 (PDT)
It is time to release the beast! This deck only has
88 hours on drum 1 and 84 hours on drum 2. It is the
only dual DAT deck, so no need for two decks; you can
do your clones with just this unit. I have the
remote, original box and the manual. It is in mint
shape, and shows no signs of wear. It has never been
rack mounted either. Any interest, contact me via
email at shmurg@yahoo.com...
Thanks for the space...
Eric Eckberg
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From: Dave K <phrog@taperfriendly.org>
Subject: ISO: Totaly dead da-p1's
Date: Fri, 19 Jul 2002 21:54:17 -0600
Looking for chassis and buttons from old p1's
If you have anything your willing to part with please drop me a line.
phrog
From: Anthony Patrizio <a.patrizio@verizon.net>
Subject: Roger Waters
Date: Sat, 20 Jul 2002 00:01:34 -0400
hey datheads,
I need clones of Roger Waters' 2002 tour. Have a
handful, with more coming, but many, many holes
to fill. Please let me know what you have and what
you seek (as my PF/RW list is in shambles - but
it is indeed a good one).
Since I'm posting this message to datheads (please note
the word "DAT" in there), please don't offer me cdrs.
And you need to be able to make *clean* clones using
two decks connected with digital cables. Sorry to sound so
bitchy, but had a run of bad experiences lately...
ok, many thanks,
Anthony
From: Levyrocks@aol.com
Subject: Prompted to Reply
Date: Sat, 20 Jul 2002 00:47:24 EDT
Much to my shock and horror I read an archive on the datheads website
claiming
all kinds of insane, crazy things about me. My first response was to ignore
the postings, why even bother with a bunch of paranoid kooks (slow down on
that chronic guys get into a 12 step program like I did years ago!!), then I
thought well people have "dared" me to respond and I havent done anything
wrong to anyone on this list, actually I joined as I heard from some good
friends it would be a good resouce for trades, as I have over 6000
videos/Cds/tapes etc and have been collecting "boots"
for 25 years and tape alot of shows myself I thought I'd give it a try. By
the way alot of you have sent me list and I recognize alot of your A or A+
listings as tapes I did
myself. So what I want to hear from is one, single soul on this list who can
honestly
and without question swear on his mothers life that I ever did him wrong or
ripped him off etc. I dont trade on the net much as I have significant
sources of people who I helped over the years get started with B&P send me
stuff, I mean just send me stuff for no reason than gratitude and the fact
they know I will come up with something they want or need eventually and I
will just send it to them. One of the reasons I dont trade on the net alot is
the amount of paranoid kooks, it seems the harder I look to trade for my
favorite bands, the crazier people get. Im not sure why or for what reason
people believe I am other people based in Florida, I AM NOT!! I am on the
West Coast of Florida as far west as you can get, on the Gulf of Mexico, not
in Orlando, not in Pembroke Pines or Lauderdale (South Florida), for years
Ive avoided even trading on the net as the worst kooks in the world seem to
come out of the wood-work, the more you try and trade good stuff the more the
nuts and "profiteers" start to cut your feet under you as they do not want
these items traded. Please consider what these nuts are saying that there is
an entire East Coast network of people operating with me to get tape trades
all the way from Virginia to Florida and all points in between, please lets
get real here, thats about as crazy as anything Ive ever heard and quite
paranoid wouldnt you agree. I bought most of my boot CDs in
the 90s when silver boots were still available as I got sick of nuts I use to
contact in
the back of Relix who would send you a 8th gen Dead board and when you sent
them an excellent recent recording all they did was bitch. Im sorry I got a
life outside of tapes dudes, unfortunately I understand and sympathize with
the hoards of you who are anti-social hermits and have nothing more to do
than worry about DAT taping, gens, quality of tapes etc. I was at the New
Orleans Jazz Fest several years back at dinner one of the tapers who went was
whining about a great show he had,
but the guy had "lied" about the gen. I asked "Is it loud enough to hear? Do
you love the performance? Do you love the tape?" He said YES!! then continued
to whine. My
belief is if its clean enough or it is a document of a show you were at and
decent and you can re-live the concert why bitch? I mean alot of you are
about as anal as can be, what is it missing in your lives? I'd like to know?
Please ONE of you stand up and swear to this list that I Bill Levy ripped you
off, one person, cite an exact trade that I did not make good on, just one. I
do not believe there is a soul among you, just the banter of professional
bootleggers who are so nuts they actually set up websites devoted to people
whom they have admitted never dealing with but have only "heard" from an
unknown person on the net, that they never have met in thier lives that
someone ripped someone off etc. Some of you are technically brilliant people
but act like total and complete 5 year olds when it comes to tapes. The world
is in a state of
crisis, people are losing thier jobs, life savings, lives, war, attacks here
in the US, and you guys your worried that someone, may be someone, that
someone said that
someone says is someone else who ripped off someone but they dont know who
but
dont trade with this man as he may be that someone. Boy you guys need to go
work for George Jr. and his new world Nazi regime. You ought to be more
worried about the FBI listening in on your little bootleg conversations than
attacking someone you've had NO DEALINGS with whatsoever. Sorry about the
length of this post but I see some nuts with nothing better to do in life
have gone to extremes to discredit me. I mean dont you have anything better
to do. One last thing you will not stop me from acquiring trades, I got tons
of them and will always get more. There are many among you who know me
personally, I mean have sat down and broke bread with me, went to college
with me 20 years ago, right here on this list, you better bet your
ass I get every damn show I want one way or the other so please stop the
bashing, I am owed an apology from this list and its moderater for allowing
people to post false and slanderous things about me, I will not let your
paranoia nor fears get me down, actually I die laughing wondering when the
last time the guys who do all this "research" whens the last time they got
laid, I can tell you any man who spends his days and nights surfing the net
trying to tie someone to some sinister "international
bootleg rip-off" scheme well he aint got nothing to get next to in the
bedroom brother you can count on that. think about it DUDES!!
- Yours
Bill Levy
From: -bob <nattyfret@yahoo.com>
Subject: Microphone Guy (literature)
Date: Sat, 20 Jul 2002 01:31:49 -0700 (PDT)
Found this out on the web.
It isn't technical stuff. Just a good summer's read
from the other side of the equipment sales counter
that the taping section might enjoy.
Microphone Guy:
http://www.corpse.org/issue_11/ficciones/donzi.html
Nothing else happening here but Cheese.
Hope your summer's going as good. :-)
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From: barren <barren4@earthlink.net>
Subject: ISO Doc Watson 5-25-01 Atlanta
Date: Sat, 20 Jul 2002 09:15:19 -0400
Hey All,
A friend of mine saw this show at the Variety Playhouse and would like a copy. Alison Brown opened and if it's available he'd like to hear this also. I will be happy to trade or b&p either dat or cdr for a copy. Thanks.
BWT: I've got one extra Michael Hedges 9-21-97 on 1) 90m dat for b&p for the first to respond to my email address
From: Kevin A Kraska <ezkkraska@juno.com>
Subject: Hornsby 7/19
Date: Sat, 20 Jul 2002 09:24:04 -0400
Anyone tape this last night? Great show, I'd love a copy. Have plenty
of Dead, JGB, I. Girls, REM, Beatles, others FT.
Lemme know,
Kevin
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From: pwking <sleepypedro@yahoo.com>
Subject: RIP alan lomax
Date: Sat, 20 Jul 2002 07:58:42 -0700 (PDT)
i feel posting alan lomax's obit is warranted rather
than just a link, since a lot of us might not be
registered with the NY Times. In any case, we should
all give thanks to Alan Lomax for the work he did in
his life! we will continue to do your work as best we
can!
============================
July 20, 2002
Alan Lomax, Who Raised Voice of Folk Music in U.S.,
Dies at 87
By JON PARELES
Alan Lomax, the legendary collector of folk music who
was the first to record towering figures like
Leadbelly, Muddy Waters and Woody Guthrie, died
yesterday at a nursing home in Sarasota, Fla. He was
87.
Mr. Lomax was a musicologist, author, disc jockey,
singer, photographer, talent scout, filmmaker, concert
and recording producer and television host. He did
whatever was necessary to preserve traditional music
and take it to a wider audience.
Although some of those he recorded would later become
internationally famous, Mr. Lomax wasn't interested in
simply discovering stars. In a career that carried him
from fishermen's shacks and prison work farms to
television studios and computer consoles, he strove to
protect folk traditions from the homogenizing effects
of modern media. He advocated what he called "cultural
equity: the right of every culture to have equal time
on the air and equal time in the classroom."
Mr. Lomax's programs spurred folk revivals in the
United States and across Europe. Without his efforts,
the world's popular music would be very different
today.
"What Caruso was to singing, Alan Lomax is to
musicology," the oral historian Studs Terkel said in
1997. "He is a key figure in 20th-century culture."
In an interview, Bob Dylan once described him as "a
missionary."
Mr. Lomax saw folk music and dance as human survival
strategies that had evolved through centuries of
experimentation and adaptation; each, he argued, was
as irreplaceable as a biological species. "It is the
voiceless people of the planet who really have in
their memories the 90,000 years of human life and
wisdom," he once said. "I've devoted my entire life to
an obsessive collecting together of the evidence."
To persuade performers and listeners to value what was
local and distinctive, Mr. Lomax used the very media
that threatened those traditions. By collecting and
presenting folk music and dance in concerts, films and
television programs, he brought new attention and
renewed interest to traditional styles.
"The incredible thing is that when you could play this
material back to people, it changed everything for
them," Mr. Lomax once said. Listeners then realized
that the performers, as he put it, "were just as good
as anybody else."
Mr. Lomax started his work as a teenager, lugging a
500-pound recording machine through the South and West
with his father, the pioneering folklorist John A.
Lomax. They collected songs of cowboys, plantation
workers, prisoners and others who were rarely heard.
"The prisoners in those penitentiaries simply had
dynamite in their performances," Mr. Lomax recalled.
"There was more emotional heat, more power, more
nobility in what they did than all the Beethovens and
Bachs could produce."
Discovering the Greats
One prisoner recorded by the Lomaxes in Angola, La.,
was Huddie Ledbetter, known as Leadbelly, who began
his singing career after John Lomax helped secure his
release in 1934. Alan Lomax produced Leadbelly's
albums "Negro Sinful Songs" in 1939 and "The Midnight
Special," prison songs performed with the Golden Gate
Quartet, in 1940. The Lomaxes held part of the
copyright to his song "Goodnight Irene," and the
royalties they received when the Weavers' recording of
it became a huge pop hit in 1950 helped finance their
research trips.
Alan Lomax recorded hours of interviews with the New
Orleans jazz composer Jelly Roll Morton in the 1930's,
an early oral-history project that resulted in both a
classic 12-volume set of recordings and a 1950 book,
"Mister Jelly Roll," which remains one of the most
influential works on early jazz.
In the early 1940's, Mr. Lomax made extensive
recordings of songs and stories by Woody Guthrie, both
for the Library of Congress and for commercial release
on RCA Victor as "Dust Bowl Ballads." In 1941, he made
the first recordings of McKinley Morganfield, a cotton
picker and blues singer better known by his nickname,
Muddy Waters.
In 1997, Rounder Records began issuing its Alan Lomax
Collection, a series of more than 100 CD's of music
recorded by Mr. Lomax in the deep South, the Bahamas,
the Caribbean, the British Isles, Spain and Italy. A
recording Mr. Lomax made in Mississippi in 1959 of a
prisoner, James Carter, singing the work song "Po'
Lazarus," opens the multimillion-selling, Grammy
Award-winning soundtrack of "O Brother, Where Art
Thou?" (Universal).
From Harvard to Texas Mr. Lomax was born in Austin,
Tex., in 1915. He attended Choate and spent a year at
Harvard. But in 1933, he left to enroll at the
University of Texas, where he graduated in 1936 with a
degree in philosophy. Later, he did graduate work in
anthropology at Columbia University. He had already
become a folk-music collector, recording songs with
his father.
"My father was fired from the University of Texas for
recording those dirty old cowboy songs," Mr. Lomax
said. "Cowboys were lowdown, flea-ridden and boozing,
so a guy who associated with them — even though he
romanticized them a lot, as my father did — was looked
down on."
The Lomaxes' book "American Ballads and Folk Songs"
was published in 1934, followed by "Negro Folk Songs
as Sung by Leadbelly" (1936), "Cowboy Songs" (1937),
"Our Singing Country" (1938) and "Folk Songs: USA"
(1946). John A. Lomax became the curator of the
Archive of Folk Song at the Library of Congress; his
son joined him there as assistant director in 1937.
By the end of the 1930's, John and Alan Lomax had
recorded more than 3,000 songs on 78-r.p.m. discs.
Generations have grown up with these Library of
Congress recordings.
A Life on the Road
During the 1930's, Alan Lomax was on the road
regularly, gathering songs across rural America and in
the Caribbean. He recorded gospel choirs, Cajun
fiddling, country blues, calypsos, New Orleans jazz,
Tex-Mex music and Haitian voodoo rituals. The
Depression and labor-organizing songs he collected
were released in 1967 as "Hard-Hitting Songs for
Hard-Hit People."
His recordings would include interviews with the
performers. He was determined to preserve not only the
music, but also the stories behind the songs and the
vanishing communities that produced them.
In 1935, he traveled with the writer Zora Neale
Hurston and the folklorist Mary Elizabeth Barnicle to
collect music from the Georgia Sea Islands and along
the Florida coast. Mr. Lomax and Ms. Barnicle
blackened their faces with walnut juice to escape
hostile attention from white neighbors. The music of
black migrant workers in the Sea Islands led Mr. Lomax
and Ms. Barnicle to the Bahamas in 1935. While
recording work songs from sponge fishermen on Andros
Island, Mr. Lomax interviewed them about their jobs.
When he returned to the Bahamas' capital, Nassau, he
was expelled by officials who believed he was stirring
up worker unrest.
Mr. Lomax began a weekly radio program on CBS Radio's
"American School of the Air" in 1939, and then was
given his own network program, "Back Where I Come
From." In 1948 he was the host of "On Top of Old
Smokey," a radio show on the Mutual Broadcasting
System.
Mr. Lomax sang alongside Pete Seeger and Paul Robeson
during the 1948 presidential campaign of former Vice
President Henry A. Wallace. During the McCarthy
period, when Mr. Seeger and other left-wing performers
were blacklisted because of their political views, Mr.
Lomax left the country. He had received a Guggenheim
fellowship to study British folk music and lived in
England from 1950 to 1957. He compiled an archive of
British folk songs and created programs for English
radio and television. The sound of rural American
music was a major factor in the British skiffle craze
that yielded groups like the Quarry Men, John Lennon's
first band.
Mr. Lomax also collected folk music in Spain in
1953-54 and in Italy in 1955, helping to spur folk
revivals in those countries. Those collecting trips
also resulted in two 10-part BBC radio series, on
Spanish and Italian folk music. Columbia Records
issued the 18-volume "Columbia World Library of Folk
and Primitive Music" in 1955, a pioneering survey of
world music. "Folk Songs of the United States," a
five-album set, was drawn from Mr. Lomax's field
recordings for the Library of Congress.
Fueling a Folk Revival
When Mr. Lomax returned to the United States, the folk
revival he had envisioned was flourishing. His
collection "The Folk Songs of North America" was
published by Doubleday in 1960. Young musicians were
learning the songs he had collected and playing them
for eager audiences. Mr. Lomax was a consultant who
helped choose performers for the annual Newport Folk
Festival.
He returned to the South in 1959-60 to make the first
stereo field recordings of American music; 19 albums
were released on Atlantic and Prestige Records,
including the first recordings by the country bluesman
Mississippi Fred McDowell. On a 1962 trip to the
Caribbean, Mr. Lomax recorded calypsos, Indo-Caribbean
chaupai songs, work songs, children's songs and
steel-band music. He left an archive of Caribbean
music at the University of the West Indies, which also
shared in the royalties on recordings.
Mr. Lomax became a research associate in Columbia
University's department of anthropology and Center for
the Social Sciences in 1962, where he began research
in cantometrics and choreometrics. They were systems
for notating and studying music and dance to discover
broad patterns correlating musical styles to other
social factors, from subsistence methods to attitudes
about sexuality. He was associated with Columbia until
1989, when he moved his work to Hunter College.
A Purist to the End
Mr. Lomax was displeased by the advent of folk-rock in
the mid-1960's, considering it inauthentic. When the
Paul Butterfield Blues Band performed at the Newport
Folk Festival, he belittled the music, leading to a
legendary fistfight with Bob Dylan's manager, Albert
Grossman. He also denounced Mr. Dylan's move from
protest songs to rock.
To the end, he remained a vigorous defender of the old
ways. He may have appreciated gospel music, for
example, but he was also quick to point out the loss
of the improvised spiritual harmonies it displaced.
Mr. Lomax turned to film and television while
continuing his academic work. He made films about
dance with Forrestine Paulay, a movement analyst, in
the 1970's. He wrote, directed and produced a
documentary, "The Land Where the Blues Began," in
1985. And he wrote, directed, narrated and produced
"American Patchwork," a series of programs on American
traditions shown on public television in the early
1990's. For such efforts, he was awarded the National
Medal of the Arts.
A Musical Anthropology
In the 1980's, Mr. Lomax began work on the Global
Jukebox, a database of thousands of songs and dances
cross-referenced with anthropological data. With
video, text and sound, the Global Jukebox lets users
trace cross-cultural connections or seek historical
roots. The MacArthur Foundation and the National
Science Foundation gave Mr. Lomax grants to create the
jukebox, and in 1989 he set up the Association for
Cultural Equity at Hunter College to work on the
project.
Mr. Lomax's memoir of his Southern travels, "The Land
Where the Blues Began," was published in 1993 by
Pantheon; it won the National Book Critics Circle
award for nonfiction. Although he had two strokes in
1995, he continued to advise Rounder Records on the
Lomax Collection, a 100-CD series of his recordings
that the label began to reissue in 1997.
Mr. Lomax is survived by a daughter, Anna L.
Chairetakis, and a stepdaughter, Shelley Roitman, both
of Holiday, Fla., and a sister, Bess Lomax Hawes, of
Northridge, Calif.
"We now have cultural machines so powerful that one
singer can reach everybody in the world, and make all
the other singers feel inferior because they're not
like him," Mr. Lomax once reflected. "Once that gets
started, he gets backed by so much cash and so much
power that he becomes a monstrous invader from outer
space, crushing the life out of all the other human
possibilities. My life has been devoted to opposing
that tendency."
=====
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