Bootleg recording
A bootleg recording is an audio and/or video recording of a performance that was not officially released by the artist, or under other legal authority.[citation needed] The process of making and distributing such recordings is known as bootlegging. A great many such recordings are simply copied and traded among fans of the artist without financial exchange, but some bootleggers are able to sell these rarities for profit, sometimes by adding professional-quality sound engineering and packaging to the raw material.[citation needed]
Bootlegs can consist of recordings of live performances, or material created in private or professional recording sessions. Changing technologies have had a great impact on the recording, distribution, and varying profitability of the underground industry.[citation needed]
Bootlegging is considered copyright infringement in many jurisdictions.[citation needed] The copyrights for the song and the right to authorize recordings often reside with the artist, according to several international copyright treaties. The recording, trading and sale of bootlegs continues to thrive, however, even as artists and record companies attempt to provide "authorized" alternatives to satisfy the demand.
Definitions
Some artists consider any release for which they do not receive royalties to be equivalent to a bootleg, even if it is an officially licensed release.[citation needed] This is often the case with artists whose recordings have either become public domain or whose original agreements did not include reissue royalties (which was a common occurrence before the 1960s).[citation needed]
Many bootlegs consist of private or professional studio recordings distributed without the artist's involvement, including demos, works-in-progress or discarded material.[citation needed] These might be made from private recordings not meant to be widely shared, or from master recordings stolen or copied from an artist's home, a recording studio or the offices of a record label. A number of bootlegs originated with FM radio broadcasts of live or previously-recorded live performances.[citation needed]
However, the most common type is the live bootleg, or audience recording, which is created with sound recording equipment smuggled into a live concert.[citation needed] Many artists and most live venues prohibit this form of recording, but from the 1970s onwards the increased availability of portable technology made such bootlegging increasingly easy, and as this technology has improved so too has the general quality of these recordings.[citation needed]
The alternate term ROIO or RoIO, an acronym meaning "Recording of Indeterminate Origin", or "Recording of Independent Origin", arose among Pink Floyd collectors trying to clarify the differences between counterfeits, pirate copies, live bootlegs, and "ROIOs", meaning recordings whose legal status was difficult or even impossible to determine.[citation needed] The term has spread beyond Pink Floyd fans but its recognition and usage depends largely on the individual community. It is also sometimes used to denote a Pink Floyd recording of any kind.[citation needed]
In the early 2000s, "bootleg" became an alternate term[citation needed] for "mashups" or "bastard pop", a style of remix in which two or more musical recordings are melded into new piece of music. Early examples often copied sound clips without paying royalties to the original artist.[citation needed]
[edit] History of bootlegging
[edit] The early years
Unauthorized recordings can be traced back to the early days of opera, jazz, and blues music.[citation needed] The first recognised rock bootleg in the United States was a double-LP known as The Great White Wonder, for the plain white cover, sleeve and labels.[citation needed] This was a 1969 collection of Bob Dylan recordings and studio out-takes, as well as seven tracks from sessions made with members of The Band (released many years later in The Basement Tapes), put out by a pair known as "Ken" and "Dub".[citation needed] The album was in great demand since these unreleased tracks were otherwise unavailable. Hundreds of other bootleg LPs of Dylan's music, including several volumes of Little White Wonder would be released over the ensuing years. One notable release was Ten of Swords, a 10-LP box set that was issued shortly after the 5-LP Biograph was released in 1985. Unlike most major artists, whose bootlegs were usually recorded in large concert venues, the Dylan bootlegs were typically taken from unreleased songs, demo tapes, or live performances made in intimate settings or during interviews[citation needed].
Other early bootleg recordings that date from the same time period as The Great White Wonder include Kum Back / The World's Greatest by The Beatles, Live On Blueberry Hill by Led Zeppelin and The Greatest Group on Earth by the Rolling Stones. Soon thereafter, bootleg recordings began to emerge from Britain as well, with an unofficial release of a live recording of Jimi Hendrix at the Royal Albert Hall.[1]
Early live recordings typically contained a great deal of crowd noise, with screams and whistles from audience members close to the microphone sometimes drowning out the performance.[citation needed] Bootleggers gradually found ways to minimize this, sometimes just by choosing their position in the crowd carefully, by elevating the microphone above the crowd on an extensible pole, or by taping it to a light or speaker pole.[citation needed] Others found sophisticated ways of connecting recording equipment directly into the Front of House mixing console or soundboard, with or without the cooperation of the performer's sound crew.[citation needed]
Blank album covers and labels were commonplace in the early years of bootlegging; the album was often identified only by a photocopied page inside the shrink wrap listing the artist and songs, sometimes with a photograph or two.[citation needed] Some albums would have phony labels or covers that listed songs and artists that were in no way related to the actual music on the album. In an attempt to legitimize the practice, many LPs purported to have been made in Italy, West Germany, Australia and other countries so that they could be marketed as "imports" rather than bootlegs.[citation needed]
After having many of their albums available in bootleg, The Who decided to put out their first live album (Live at Leeds) in 1970 with a brown, cardboard looking cover with "The Who Live at Leeds" stamped on the cover to make it appear as though it were a bootleg. The songs were written on the album (by Townshend's hand) to further the joke.[citation needed] The sound quality of this album was actually better and cleaner than most live recordings of rock bands that had been officially released prior to that date.[citation needed]
Many years later, and for the same reason, Aerosmith released their first official live album, Live! Bootleg in 1978.[citation needed] In addition to imitating bootleg cover designs, the album also gives an incorrect track listing (which is also common in bootleg recordings): the song "Draw The Line" is included on the record but does not appear listed.[citation needed]
[edit] 1970s and 1980s
During the 1970s the bootleg industry in the United States expanded rapidly, coinciding with the era of stadium rock or arena rock. Vast numbers of recordings were issued for profit by bootleg labels such as Kornyfone and Trade Mark of Quality.[2] The large followings of bands such as Deep Purple, Led Zeppelin, Black Sabbath, The Rolling Stones and Pink Floyd created a lucrative market for the mass production of unofficial recordings on vinyl, as it became evident that more and more fans were willing to purchase them. In addition, the huge crowds which turned up to these concerts made the effective policing of the audience for the presence of covert recording equipment virtually impossible.
In Los Angeles there were a number of record mastering and pressing plants that were not "first in line" to press records for the major labels, usually only getting work when the larger plants were overloaded. These pressing plants were more than happy to generate income by pressing bootlegs of dubious legality. Sometimes they simply hid the bootleg work when record company executives would come around (in which case the printed label could show the artist and song names) and other times secrecy required labels with fictitious names. For example, a 1974 Pink Floyd bootleg called Brain Damage was released under the name The Screaming Abdabs.[2]
Bootleg collectors in this era generally relied on Hot Wacks,[citation needed] an annual underground magazine catalog of known bootlegs, for information about recently-released bootleg albums. It provided the true information on releases with fictitious labels, and included details on artists and track listings, as well as the source and sound quality of the various recordings.
The market outlets for bootlegs-for-sale were varied[citation needed]. In the early years, bootlegs could be bought from vendors lurking in the alleys and parking lots around live venues, as well as at swap meets, street markets, record collector shows, and smaller record stores. Mail order sources were advertised by word of mouth, and in many cases uniquely associated with individual bands. There were major markets in Japan and Europe for Led Zeppelin bootleg recordings, Beatles bootlegs, and rarities from The Rolling Stones, Deep Purple, Pink Floyd, KISS, and Queen, among others.[citation needed]
Throughout the 1970s most bootleg records were of poor quality, with many of the album covers consisting of nothing more than cheap photocopies. However, later in the decade a number of unofficial "labels" such as Swinging Pig emerged in Europe, which released limited editions of better quality recordings, with improved album artwork. This trend in enhanced audio and packaging standards continued into the 1980s.[1]
The 1980s saw the increased use of audio cassettes and videotapes for the dissemination of bootleg recordings, as the affordability of private dubbing equipment made the production of multiple copies significantly easier. Cassettes were also smaller, easier to ship, and could be sold or traded more affordably than vinyl. Cassette culture and tape trading, propelled by the DIY ethic of the punk subculture, relied on an honor system where people who received tapes from fellow traders made multiple copies to pass on to others within the community.
For a while, stalls at major music gatherings such as the Glastonbury Festival sold mass copies of bootleg soundboard recordings of bands who, in many cases, had played only a matter of hours beforehand. However, officials soon began to counteract this illegal activity by making raids on the stalls and, by the end of the 1980s, the number of festival bootlegs had consequently dwindled.[1]
According to Clinton Heylin, author of Bootleg: The Rise & Fall of the Secret Recording History, the five most bootlegged artists are The Beatles, Led Zeppelin, The Rolling Stones, Bob Dylan and Bruce Springsteen.[3] Probably the most celebrated bootleg recording is The Black Album by Prince. The album was to have been a conventional major-label release but was pulled back from the market almost immediately after its initial release in November 1987. Bootlegs appeared shortly thereafter from a variety of sources and with widely different sound qualities. Reportedly, over 500,000 copies were sold.
[edit] 1990s and 2000s
In the 1990s, there was a widespread conversion of many of the older bootlegs onto the compact disc format. Unofficial recordings became more readily available than ever before, resulting in thousands of bootlegs being circulated on CD amongst avid collectors and fans, in many cases of shows which had been originally recorded over thirty years previously. In particular, companies in Germany and Italy exploited the more relaxed copyright laws in those countries by pressing large numbers of CDs and including catalogs of other titles on the inlays, making it easier for fans to find and order shows direct.[1] Similarly, relaxed copyright laws in Australia meant that the most serious legal challenge to unauthorized releases were made on the grounds of trademark law by Sony Music Entertainment in 1993. Court findings were in favor of allowing the release of unauthorized recordings clearly marked as "unauthorised". However, the updated GATT 1994 soon closed this so-called "protection gap" in all three aforementioned countries effective January 1, 1995.[3]
Filling in the vacuum, with the Internet expanding, bootleg websites and mailing lists began to appear, including public websites catering to collectors who exchanged tapes and CDs free of charge, and surreptitious ones devoted to the sale of bootlegs for profit.[citation needed]
During this period, composer Jerry Goldsmith became well-known for physically smashing bootleg CDs presented to him to sign.[citation needed] A German outfit called Tsunami Records was prolifically selling unauthorized recordings of Goldsmith's music for prices that generally exceeded standard retail for a single disc.[citation needed]
The tightening of laws and increased enforcement by police on behalf of the British Phonographic Industry (BPI), Recording Industry Association of America (RIAA) and other industry groups—often for peripheral issues such as tax evasion—gradually drove the distributors of for-profit vinyl and CD bootlegs further underground.[1] Physical bootlegging largely shifted to less regulated countries such as Hong Kong, Russia, France and Brazil, with the results distributed through existing underground channels, open market sites such as eBay, and other specialized websites.
However, the late 1990s and early 2000s saw an increase in the free trading of digital bootlegs, sharply decreasing the demand for and profitability of physical bootlegs.[citation needed] The rise of standard audio file formats such as MP3 and FLAC, combined with the ability to share files between computers via e-mail, FTP, instant messaging, and specialized peer-to-peer file sharing networks such as Napster (now defunct as p2p), Limewire, and BitTorrent, made it simpler than ever for bootleg collectors to exchange rarities.[citation needed] Older analog recordings were converted to digital format for the first time, tracks from bootleg CDs were ripped to computer hard disks, and new material was created with digital recording of various types, and all of these types could now be easily shared. The quality and portability of recording devices and microphones also increased exponentially, resulting in recordings which were often on a par with official releases. One notable change caused by this shift in technology was the unit of exchange: instead of album-length collections or live recordings of entire shows, fans often now had the option of searching for and downloading bootlegs of individual songs.[4]
[edit] Legal issues
[edit] Bootlegging vs. piracy vs. counterfeiting
Main article: Copyright infringement
Bootlegging is often incorrectly referred to as piracy but there are important differences between the two terms. Bootlegging is trafficking in recordings that the record companies have not commercially released, whereas piracy is the illegal copying/sale of recordings that are (or have been) available commercially or are planned/scheduled for commercial release.[citation needed]
A pirate release is further distinguished from a counterfeit. Counterfeits attempt to mimic the look of officially released product; pirate releases do not necessarily do so, possibly substituting cover art or creating new compilations of a group's released songs. A counterfeit is always a pirate but a pirate is not necessarily a counterfeit.[citation needed]
"Bootlegging" is sometimes also used to refer to the unlicensed file sharing of copyrighted music but the term piracy is usually used instead. In the same vein, "bootlegging" has become the default term amongst Japanese anime fans to describe the piracy or counterfeiting of CDs, DVDs, computer and video games, arcade games, and other merchandise. These increasingly sophisticated imitation goods from Hong Kong are much reviled by fans and the industry alike, and many anime fan conventions have adopted a strict non-bootleg policy for vendors and attendees.[citation needed]
[edit] Laws and court rulings
The Berne Convention for the Protection of Literary and Artistic Works has protected the copyrights on literary, scientific, and artistic works since 1886. Article 9 of the Convention states that: Authors of literary and artistic works protected by this Convention shall have the exclusive right of authorizing the reproduction of these works, in any manner or form. [...] Any sound or visual recording shall be considered as a reproduction for the purposes of this Convention.[5]
The World Intellectual Property Organization (WIPO), founded in 1967, is one of the specialized agencies of the United Nations, aiming for the international protection of intellectual property rights. According to Article 6 of the international WIPO Performances and Phonograms Treaty of 1996, all performers own the rights to their own performances: "Performers shall enjoy the exclusive right of authorizing, as regards their performances: (i) the broadcasting and communication to the public of their unfixed performances except where the performance is already a broadcast performance; and (ii) the fixation of their unfixed performances."[6] The WIPO Copyright and Performances and Phonograms Treaties Implementation Act in the United States says "(a), unless authorized by the owners of copyright in the sound recording or [...] in the musical works embodied therein, neither the owner of a particular phonorecord [...] may, for the purposes of direct or indirect commercial advantage, dispose of, or authorize the disposal of, the possession of that phonorecord [...] by rental, lease, or lending, or by any other act or practice in the nature of rental, lease, or lending."[7]
Most artists have made little effort to pursue legal action about bootleg recordings, viewing such "rarities trading" as harmless provided that it is not being done for profit. The benefits of interfering with such trading are fairly minimal compared to the potential ill-will generated against the artist, as the illicit works are generally circulated among the artist's most loyal fans, which have the most interest. Most record companies also have not shown an interest in pursuing or prosecuting small-scale bootleggers, but this could change at any time.
However, in 2004 U.S. District Judge Harold Baer Jr. struck down a 1994 law banning the sale of bootleg recordings of live music, ruling that the law unfairly grants a seemingly perpetual copyright period to the original performances.[8] He dismissed a federal indictment of Jean Martignon, who was running a Manhattan mail-order and Internet business that sells bootleg recordings. The Recording Industry Association of America disagreed with the ruling, saying the decision "stands in marked contrast to existing law and prior decisions that have determined that Congress was well within its constitutional authority to adopt legislation that prevented trafficking in copies of unauthorized recordings of live performances", according to spokesman Jonathan Lamy.[9] In 2007, Judge Baer's ruling was overruled, and the 2nd Circuit of the US Court of Appeals found that the anti-bootlegging statute was within the power of congress. 492 F. 3d 140
[edit] Legal alternatives to illicit bootlegging
Artists and record companies have attempted to find ways to provide authorized alternatives to satisfy consumer demand for bootleg recordings, including the marketing of their own live albums and rarities collections.
[edit] Authorized live bootlegs
See also: Taper (concert)
An increasing number of artists have decided to allow and encourage live audience recording, although they and their fans generally consider the selling of such recordings—as opposed to keeping them for one's own personal enjoyment or trading them for other audience recordings—to be illegitimate bootlegging.[citation needed] Fans cite the encouragement of these recordings as a key factor in their long-term loyalty to these bands.[citation needed]
In addition, many performers have made joking suggestions to bootleggers presumably in the audience, especially when a new or unusual song is about to be performed. Fans often hopefully cite such comments as evidence of permission to make bootleg recordings.[citation needed]
The Grateful Dead is well known for explicitly allowing their shows to be taped.
[edit] Instant live bootlegs
In the early 2000s, artists responded to the demand for bootleg concert recordings by experimenting with the sale of authorized bootlegs made directly from the unmixed soundboard feeds, or from on the fly multitrack mixes, and thus superior to surreptitious audience recordings which are typically marred by crowd noise. These releases were generally available a few days to a few weeks after the concert.[10]. Notable examples include Genesis, and Peter Gabriel, who has released such copies of live recordings for most of his concerts since 2003.KISS recorded their shows and sold the copies right after the concert was over during their 2008 world tour.
In the mid-2000s, improving technology in high-speed CD reproduction made some of these "official boots" available to audience members immediately as they leave the concert; some companies can begin selling complete concert CDs less than ten minutes after the end of the show.[11] However, a key patent in the process (that of dividing the single recording into discrete digitally marked tracks during recording) was bought by media giant Clear Channel Communications, which sued smaller competitors for patent infringement to force them out of the business. When Clear Channel divested its live entertainment business into the spin off company Live Nation in 2005, the patents were transferred as well. The patent (U.S. Patent 6,917,566 ) was revoked by the USPTO in 2007 after challenges filed by the Electronic Frontier Foundation.[12]
[edit] Commercially released bootlegs
Many recordings first distributed as bootleg albums were later released officially by the copyright holder; for instance, the release of the 1996 Anthology series effectively killed the demand for many of The Beatles bootlegs previously available. In 2002 Dave Matthews Band released Busted Stuff in response to the Internet-fueled success of The Lillywhite Sessions which they had not intended to release. Queen are slowly releasing 100 bootlegs for sale as downloads at their Online Store, with profits going to the Mercury Phoenix Trust. Although he is opposed to illegitimate recording of his concerts Robert Fripp's DGMlive.com offers many King Crimson bootlegs for sale as downloads.
From Wikipedia, the free encyclopedia
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http://rapidshare.com/files/108845935/H ... _.rar.html
HELENA ESPVALL & MASAKI BATOH: S/T (2008)
http://www.mediafire.com/?mwnnyogzbgo
HERMETO PASCOAL: Live in Buenos Aires 1981
Night 1:
http://rapidshare.com/files/99796545/He ... _.rar.html
Night 2:
http://rapidshare.com/files/99804437/He ... _.rar.html
HERMETO PASCOAL: Paris 1990
http://rapidshare.com/files/103608230/H ... 0.rar.html
HERMETO PASCOAL: Amsterdam 1996
http://rapidshare.com/files/102078197/H ... 6.rar.html
HERMETO PASCOAL, LANNY GORDIN & OLMIR 'Alemão' STOCKER: Brazilian Octopus (1968)
http://rapidshare.com/files/104055012/H ... _.rar.html
INCREDIBLE STRING BAND: Ludlow's Garage (01-05-69)
http://www.megaupload.com/?d=CS7WEAL4
http://rapidshare.com/files/114558376/ISB-LG.zip.html
JACQUES BREL: Chansons ou versions inédites de jeunesse
http://rapidshare.com/files/109590313/J ... e.rar.html
Password: MOODSWINGS
JACQUES BREL: Inédits
http://rapidshare.com/files/101839379/J ... t.rar.html
JACQUES BREL: Concert Bruxelles
http://rapidshare.com/files/102550140/J ... s.rar.html
JACQUES BREL: Concert TV
http://rapidshare.com/files/102885892/J ... V.rar.html
JACQUES BREL: Concert
http://rapidshare.com/files/102895027/J ... t.rar.html
JAN GARBAREK, TERJE RYPDAL a.o. - Popofoni (1969)
Part 1:
http://rapidshare.com/files/137570029/Popofoni_CD_1.rar
Part 2:
http://rapidshare.com/files/137570031/Popofoni_CD_2.rar
JIŘÍ STIVÍN & RUDOLF DAŠEK: System Tandem
http://rapidshare.com/files/112795821/J ... m.rar.html
JOHN LENNON: Unplugged
http://rapidshare.com/files/54761077/JL-U.zip
KEITH JARRET: Restoration Ruin
http://rapidshare.com/files/101083299/K ... n.rar.html
LEONARD COHEN: Live Israel 1972
http://rapidshare.com/files/84543418/Le ... Israel.rar
LEONARD COHEN: Rare songs (live England '79)
http://rapidshare.com/files/188805275/L ... d__79_.rar
LEONARD COHEN: Live in Gebouw, Amsterdam, 30-10-80
http://rapidshare.com/files/188819669/L ... -10-80.rar
LEONARD COHEN: Live Montreaux 1985
Part 1:
http://rapidshare.com/files/104055713/L ... 1.rar.html
Part 2:
http://rapidshare.com/files/104044157/L ... 2.rar.html
LEONARD COHEN: Live Muziek Theater Amsterdam, 18-04-88
Part 1:
http://rapidshare.com/files/104085798/L ... 1.rar.html
Part 2:
http://rapidshare.com/files/104061029/L ... 2.rar.html
LEONARD COHEN: First We Take LA -Live 3 July 93
http://rapidshare.com/files/103106674/L ... 3.rar.html
LEONARD COHEN: Live at The Warfield - San Francisco, july 5
Part 1:
http://rapidshare.com/files/103121431/L ... 1.rar.html
Part 2:
http://rapidshare.com/files/103123840/L ... 2.rar.html
LEONARD COHEN: Live 2008
Part 1:
http://rapidshare.com/files/126047054/2 ... t01-03.rar
Part 2:
http://rapidshare.com/files/126049745/2 ... t02-03.rar
Part 3:
http://rapidshare.com/files/126052080/2 ... t03-03.rar
Password: t.u.b.e.
LIAM THE YOUNGER: Clear Skies Over Black River (2008)
http://rapidshare.com/files/92051878/LTY-CSOBR-2008.zip
LITE (same)
http://rapidshare.com/files/107531063/L ... e.rar.html
LITE: Filmlets
http://rapidshare.com/files/115378877/L ... s.rar.html
LITE / FUNAMORI: A Tiny Twofer
http://rapidshare.com/files/107531949/L ... r.rar.html
LITE: Phantasia (2008)
http://rapidshare.com/files/121575889/L ... _.rar.html
LIZ JANES & CREATE
http://rapidshare.com/files/105102314/L ... _.rar.html
MAHAVISHNU OORCHESTRA: Live in Cleveland 1972
http://rapidshare.com/files/59691817/rc ... 2.rar.html
MARIA JOãO with RALPH TOWNER: Fábula
Part 1:
http://rapidshare.com/files/121506018/M ... 1.rar.html
Part 2:
http://rapidshare.com/files/121500271/M ... 2.rar.html
MAT MANERI, ASSIF TSAHAR & JIM BLACK: Jam
http://rapidshare.com/files/112798539/M ... m.rar.html
MIRIAM MAKEBA: Live from Paris & Conakry
http://rapidshare.com/files/103883669/M ... y.rar.html
MOKAVE (Glen Moore)
http://rapidshare.com/files/107516353/M ... _.rar.html
MOONDOGGIE FERGUSON: Picnic (2008)
http://www.megaupload.com/es/?d=JC2RHFK3
MOTHER SUPERIOR: Mother Superior (1975)
http://rapidshare.com/files/101881386/M ... r.rar.html
NGUYÊN LÊ: Tales from Viêt-Nam
http://rapidshare.com/files/108463586/T ... et_nam.rar
OLIVIER KER OURIO with RALPH TOWNER: Siroko
http://rapidshare.com/files/103658143/O ... o.rar.html
OLIVIER KER OURIO & DANYEL WARO: Sominnkèr
Part 1:
http://rapidshare.com/files/103661837/O ... 1.rar.html
Part 2:
http://rapidshare.com/files/103613724/O ... 2.rar.html
OM: Kirikuki (1975)
http://rapidshare.com/files/100362792/O ... _.rar.html
OM: Rautionaha (1976)
http://rapidshare.com/files/99550587/Om ... _.rar.html
OM with DOM UM ROMAO
http://rapidshare.com/files/99535471/Om ... _.rar.html
OM: Cerberus (1980)
http://rapidshare.com/files/100546195/O ... _.rar.html
OM: Reunion Concert (Luzern, 10-06-06)
Part 1:
http://sharebee.com/7ab3dbe6
Part 2:
http://sharebee.com/4c1c149c
OMAR RODRÍGUEZ LÓPEZ: Calibration
http://rapidshare.com/files/130428971/O ... _.rar.html
OMAR RODRÍGUEZ LÓPEZ: Minor Cuts And Scrapes In The Bushes Ahead (2008)
http://rapidshare.com/files/148682279/O ... _2008_.rar
OMAR RODRÍGUEZ LÓPEZ: Absence Makes The Heart Grow Fungus (2008)
http://rapidshare.com/files/148663237/O ... _2008_.rar
OMAR RODRÍGUEZ LÓPEZ: Se Dice Bisonte No Bufalo
http://rapidshare.com/files/103876916/O ... o.rar.html
OMAR RODRÍGUEZ LÓPEZ: The Apocalypse Inside of an Orange
Part 1:
http://rapidshare.com/files/73246354/Th ... 1.rar.html
Part 2:
http://rapidshare.com/files/73254778/Th ... 2.rar.html
OMAR RODRÍGUEZ LÓPEZ & LYDIA LUNCH
http://rapidshare.com/files/103839480/O ... h.rar.html
OREGON & ELVIN JONES: Together
http://rapidshare.com/files/111780007/O ... r.rar.html
OREGON: Live at Free Music Store (1972)
Part 1:
http://rapidshare.de/files/39043884/ORE ... 1.rar.html
Part 2:
http://rapidshare.de/files/39044412/ORE ... 2.rar.html
OREGON: Live in Stuttgart (march 19, 1974)
http://rapidshare.com/files/171588436/O ... _1974_.rar
OREGON: In Concert (1975)
Part 1:
http://rapidshare.com/files/14331888/Or ... .part1.rar
Part 2:
http://rapidshare.com/files/14329914/Or ... .part2.rar
OREGON: Live in Berlin (1980)
http://uploaded.to/?id=nkfrxk
OREGON: Live Hamburg 30-06-83
http://rapidshare.com/files/133169242/O ... 1.rar.html
http://rapidshare.com/files/133159181/O ... 2.rar.html
OREGON: Bottom Line, New York, 1985
Part 1:
http://rapidshare.com/files/100231151/O ... 1.rar.html
Part 2:
http://rapidshare.com/files/100239745/O ... 2.rar.html
OREGON: Music for a Midsummer Night's Dream
http://rapidshare.com/files/111794985/O ... m.rar.html
OREGON: Live at the Freiburg Art Festival 1987
http://rapidshare.com/files/106217261/O ... 7.rar.html
OREGON: Live in Stuttgart 1993
http://rapidshare.com/files/111804490/O ... 3.rar.html
OREGON: Live at Gorizia Auditorium di Via Roma, Italy (9-3-02)
Part 1:
http://rapidshare.com/files/105898098/O ... 1.rar.html
Part 2:
http://rapidshare.com/files/105884777/O ... 2.rar.html
OREGON in Timisoara (2003)
Part 1:
http://rapidshare.com/files/102789511/O ... 1.rar.html
Part 2:
http://rapidshare.com/files/102806323/O ... 2.rar.html
Part 3:
http://rapidshare.com/files/102813926/O ... 3.rar.html
OREGON: Umeä Jazz Festival (Sweden, 25-10-03)
http://rapidshare.com/files/100812674/O ... _.rar.html
OREGON: Live in Madrid (15-07-06)
http://rapidshare.com/files/157759957/O ... _.rar.html
OREGON: Live Centralstation Darmstadt (Germany, 03-11-06)
Part 1:
http://rapidshare.com/files/100264966/O ... 1.rar.html
Part 2:
http://rapidshare.com/files/100274325/O ... 2.rar.html
OREGON: Clusone Jazz festival 2006
Part 1:
http://rapidshare.com/files/100297817/O ... 1.rar.html
Part 2:
http://rapidshare.com/files/100300098/O ... 2.rar.html
ORION RIGEL DOMMISSE: What I Want from You Is Sweet (2007)
http://rapidshare.com/files/103854896/O ... _.rar.html
PALLE DANIELSSON: Contra Post
http://rapidshare.com/files/112823915/P ... t.rar.html
PAOLO CONTE: Elegia
http://rapidshare.com/files/133177859/P ... a.rar.html
PAOLO CONTE: Psiche (2008)
http://rapidshare.com/files/149435321/P ... _.rar.html
PAOLO CONTE: Paolo Conte plays Jazz (2008)
http://rapidshare.com/files/155251638/P ... _.rar.html
PAUL HORN with EGBERTO GISMONTI: Altura do Sol
http://rapidshare.com/files/112822502/P ... t.rar.html
PAUL SCHÜTZE: Site Anubis
http://www.megaupload.com/es/?d=JHNVM0GQ
http://www.megaupload.com/es/?d=OX5Z0DJH
password: fucksarko
PETER HAMMIL: Live 1972-73 (London & Paris)
http://rapidshare.com/files/84389629/PE ... 3.rar.html
PETER HAMMILL: Fireships Live
http://rapidshare.com/files/101568834/P ... e.rar.html
PETER HAMMILL Quartet: Milano 15-11-1994
http://rapidshare.com/files/116835078/P ... 4.rar.html
PETER HAMMILL: Live in Dalmine, Italy
http://rapidshare.com/files/116825324/P ... 1.rar.html
P.J. HARVEY: Acoustic (and on KCRW)
http://rapidshare.com/files/105174463/P ... _.rar.html
RAGNAROK: Domgeorn (1999)
http://rapidshare.com/files/105463429/R ... _.rar.html
RAIMUNDO FAGNER com HERMETO PASCOAL: Oros (1977)
http://rapidshare.com/files/101775278/R ... s.zip.html
RALPH TOWNER with Jan Garbarek & John Abercrombie: Molde 1976
http://rapidshare.com/files/133188815/R ... J.rar.html
RALPH TOWNER with John Abercrombie: Berklee Performance Center, Boston, october 1976
http://rapidshare.com/files/118378183/JB-RTBPC1976.rar
RALPH TOWNER with Jan Garbarek, John Abercrombie & Nana Vasconcelos: Hamburg 1978
Part 1:
http://rapidshare.com/files/100734945/R ... 1.rar.html
Part 2:
http://rapidshare.com/files/100756383/R ... 2.rar.html
RALPH TOWNER: Live in Berlin (1973)
http://rapidshare.com/files/94328186/Ra ... 3.rar.html
RALPH TOWNER: WRVR ECM Night Excerpt (1976)
http://rapidshare.com/files/102824901/R ... _.rar.html
RALPH TOWNER & JOHN ABERCROMBIE: At The Blue Note
Part 1:
http://rapidshare.com/files/105937935/R ... 1.rar.html
Part 2:
http://rapidshare.com/files/105924753/R ... 2.rar.html
RALPH TOWNER: Solo Live Hamburg 1987
http://rapidshare.com/files/99820523/Ra ... 7.rar.html
RALPH TOWNER: Live at Romans d'Isonzo (18-01-96)
Part 1:
http://rapidshare.com/files/102041357/R ... 1.rar.html
Part 2:
http://rapidshare.com/files/102050819/R ... 2.rar.html
RALPH TOWNER with Maria Pia De Vito, John Taylor, Paolo Fresu: Vicenza Jazz Festival 2003
http://rapidshare.com/files/106218680/R ... _.rar.html
RALPH TOWNER: Special Guest CD1
http://rapidshare.com/files/120595074/R ... 1.rar.html
RALPH TOWNER: Special Guest CD2
http://rapidshare.com/files/120595231/R ... 2.rar.html
RALPH TOWNER, WOLFGANG MUTHSPIEL & SLAVA GRIGORYAN: From a dream (2008)
http://rapidshare.com/files/164193593/T ... _.rar.html
RAOUL BJÖRKENHEIM & KRAKATAU: Ritual
http://rapidshare.com/files/103075217/R ... 1.rar.html
RAOUL BJÖRKENHEIM : Apocalypso
http://rapidshare.com/files/103059380/R ... o.rar.html
RAOUL BJÖRKENHEIM & NICKY SKOPELITIS: Revelator
http://rapidshare.com/files/103090170/R ... r.rar.html
RAOUL BJÖRKENHEIM & SCORTCH TRIO: Live in Finland
http://rapidshare.com/files/108845274/R ... d.rar.html
RÉMI SABOT: Chants Marins
http://rapidshare.com/files/101052495/R ... s.rar.html
RIHO SIBUL: Poeet Kylmetab Klaasmael
http://rapidshare.com/files/101093045/R ... l.rar.html
RIHO SIBUL: Jahe Sinine
Part 1:
http://www.4shared.com/file/41666278/4d ... part1.html
Part 2:
http://www.4shared.com/file/41668154/94 ... part2.html
RIHO SIBUL: Lood (2007)
http://rapidshare.com/files/105178764/R ... _.rar.html
RIHO SIBUL, MAIAN KÄRMAS, AIN AGAN & ARVO HAASMA: Tuigutuled- (2003)
Part 1:
http://rapidshare.com/files/105201248/R ... 1.rar.html
Part 2:
http://rapidshare.com/files/105194532/R ... 2.rar.html
RIHO SIBUL & ESTONIAN DREAM BIG BAND
http://rapidshare.com/files/102537741/R ... d.rar.html
RIHO SIBUL & ULTIMA THULE
http://rapidshare.com/files/101555529/R ... e.rar.html
RUBBER FOLK
http://rapidshare.com/files/104608683/R ... k.rar.html
RY COODER & VISHWA MOHAN BHATT: A meeting by the river
http://rapidshare.com/files/62918313/Vishwambcooder.zip
SCOTT MATTHEW (2008)
http://www.megaupload.com/es/?d=KY75VF6U
SECRET CHIEFS 3: Xaphan Book of Angels, Vol. 9 (2008)
Part 1:
http://rapidshare.com/files/109799175/Xaphan.part1.rar
Part 2:
http://rapidshare.com/files/109785247/Xaphan.part2.rar
SOÏG SIBÉRIL & NOLWENN KORBELL: Red
Part 1:
http://rapidshare.com/files/125928233/S ... 1.rar.html
Part 2:
http://rapidshare.com/files/125922321/S ... 2.rar.html
STEVE VON TILL: A grave is a grim horse (2008)
http://rapidshare.com/files/121495572/S ... _.rar.html
Terje Rypdal & Ronnie Le Tekrø: I
http://rapidshare.com/files/101492891/R ... 320Kb_.rar
http://rapidshare.com/files/101492387/R ... 320Kb_.rar
Terje Rypdal, Trilok Gurtu & Miroslav Vitous: Live in Stuttgart
http://rapidshare.com/files/109591786/T ... 4.rar.html
Terje Rypdal & Ketil Björnstad: Live (Nürnberg, 04-11-00)
http://rapidshare.com/files/105462717/T ... _.rar.html
THE BEATLES: Lord of Madness
http://www.zshare.net/download/3780945e2b2cf8/
THE BEATLES: Primal Colours
http://www.zshare.net/download/3406414070ea04/
THE BEATLES: 48 Takes of Stawberry Fields Forever (1966)
http://rapidshare.com/files/57799091/TB-SFF.zip.html
THE BEATLES: The Bigger The Love, The Greater The Hate
http://rapidshare.com/files/61078972/TB ... H.zip.html
THE BEATLES: India
http://rapidshare.com/files/32354131/TB-I.zip.html
THE MARS VOLTA: The Bedlam In Goliath (2008)
Part 1:
http://rapidshare.com/files/110078597/T ... 1.rar.html
Part 2:
http://rapidshare.com/files/110075737/T ... 2.rar.html
THE MARS VOLTA: Live at Hordern Pavilion, Sydney (2007)
Part 1:
http://rapidshare.com/files/100403562/L ... .part1.rar
Part 2:
http://rapidshare.com/files/100560538/L ... .part2.rar
THE MARS VOLTA: Acoustic Set (Bill Graham Civic Auditorium, San Francisco)
http://rapidshare.com/files/95983486/Th ... ic_Set.rar
THE MARS VOLTA: Live In Melkwed. Amsterdam (2002)
http://rapidshare.com/files/91093715/Amsterdam.rar.html
THE MARS VOLTA: Live at the Door, Dallas
http://www.zshare.net/download/8858078916cd95/
THE TWO MAN GENTLEMEN BAND: Heavy Petting (2008)
http://rapidshare.com/files/101123643/2ghp_Vic.zip.html
THONK: Total Non Sense
http://rapidshare.com/files/111789984/T ... e.rar.html
TOM WAITS: San Diego Folk Festival, april 19, 1974
http://rapidshare.com/files/152282223/T ... -19-74.zip
or:
http://www.megaupload.com/?d=T5ACOOJK
TOM WAITS: Denver Ebbet's Field (08-10-74)
http://rapidshare.com/files/152282491/TW_10-8-74.zip
or:
http://www.megaupload.com/?d=9UN9PG2D
TOM WAITS: Bremen, Germany, 26-04-77
http://rapidshare.com/files/152283528/TW_4-26-77_D1.zip
http://rapidshare.com/files/152283456/TW_4-26-77_D2.zip
or:
http://www.megaupload.com/?d=SWI3KATE
http://www.megaupload.com/?d=L36SEUMI
TOM WAITS: Sydney, Australia, 02-05-79
http://rapidshare.com/files/152094117/T ... 9_D1P1.zip
http://rapidshare.com/files/152091140/T ... 9_D1P2.zip
or:
http://www.megaupload.com/?d=6YWF018S
http://www.megaupload.com/?d=M75DPBLK
TRIO PSG
http://rapidshare.com/files/49707205/psg.rar
VAN DER GRAFF GENERATOR: The Virtual Live
http://rapidshare.com/files/76742454/VD ... e.rar.html
VASHTI BUNYAN: Summer Sundae Festival, Leicester, UK (12-08-06)
http://www.divshare.com/download/3146929-e92
WHEREAREYOULIAM: Case of Liquid Melancholy (2008)
http://rapidshare.com/files/118614704/W ... m.rar.html
WOLF TICKETS: Milk Moon (2008)
Part 1:
http://rapidshare.com/files/103821034/W ... 1.rar.html
Part 2:
http://rapidshare.com/files/103800442/W ... 2.rar.html
YES: Live in Boston, MA, nov. 12, 1974
Part 1:
http://rapidshare.com/files/105851835/Y ... y.Asso.rar
Part 2:
http://rapidshare.com/files/105863268/Y ... y.Asso.rar
YES: Live in Tucson, Arizona, march 16, 1972
http://rs108.rapidshare.com/files/93467 ... -16-72.zip
