Billy Bragg Live Tapes Wanted For Trade
Steve Andrews
Hello
I've a new subscriber and am newish to the net so please forgive me if this
turns up posted on a tropical fish site or elsewhere it shouldn't be.
Anyway altough i'm new to this technology I'm not so new to collecting Billy
Bragg tapes. A list of my tapes is below.
If anyone would like a list with (incomplete and possibly in some cases
inaccurate!) track listings please e-mail me at;
I'm afraid the list is a bit of a mess as I haven't updated it since early
last year. There are no quality gradings but I can provide further info as
required. Also some of the timings might be a little inaccurate and other
shows are listed twice. Though most have some kind of track listing though
occasionally there are errors and/or omissions.
If, despite the above, you still fancy trading please let me know.
I'm particularly looking for pre 1984 gigs and anything from election night
last year onwards. Has anyone ever seen a tape of the Roundhouse gig from
September 1996 listed? I went but didn't bother taping it foolishly thinking
that Camden would be awash with tapes by the following weekend. I'd also
love a decent tape of last years May Day bash as my walkman was playing up
and the tape is un-listenable.
Thanks very much. The list is below and hopefully I might hear from you
soon.
Cheers
Steve Andrews
1978- Riff Raff - Cosmonaut EP & the 4 Geezer Singles 40
1983 04 November 1983 Edinburgh 40
1983 10 November 1983 London Venue 40
1984 04 May 1984 Peterborough Fleet Centre (????)-With Riff Raff
1984 06 April 1984 Aklam Hall 45
1984 09 December 1984 Stockholm Kolinsburg 85 Min
1984 09 February 1984 Westfield College *
1984 10 February 1984 Old Grey Whistle Test Peformance 5
1984 10 June 1984 Southbank London (2 Sets?) 45
1984 10 May 1984 Electric Ballroom
1984 11 December 1984 Iyvaskala : Finland
1984 12 February 1984 London Lyceum
1984 12 July 1984 Schauburg, Bremen Germany 50
1984 13 February 1984 Bristol
1984 19 October 1984 Glasgow Q.M.
1984 20 October 1984 BBC Radio 1 Live In Concert 35
1984 20 October 1984 Radio 1 Janice Long Interview 25
1984 22 September 1984 Rotterdam, Holland 15
1985 07 July 1985 Battersea Park (Full Inc. As Duckbill Patterson*) 90
1985 07 July 1985 Battersea Park (GLC) 50
1985 07 July 1985 London Batersea Park (As Duckbill Patterson) 20
1985 07 March 1985 Gary Crowley Session 30
1985 13 March 1985 Leicester Polytechnic
1985 13 September 1985 Stirling Miners (Secret Gig) 80 Min
1985 17 October 1985 BBC In Concert - Paris Studios 60
1985 18 December 1985 Janice Long Live Session 35min
1985 18 June 1985 Bill As DJ on WNYO Radio (USA) 60
1985 19 March 1985 Guilford Civic Hall (Inc Soundcheck) 90
1985 21 June 1985 Glastonbury 35min
1985 21 March 1985 Southend Pavilion
1985 22 June 1985 Milton Keynes
1985 22 March 1985 Nottingham Vic Leisure Centre 60
1985 27 April 1985 Glasgow Barrowlands 65
1985 27 April 1985 Glasgow Rally 20
1985 28 June 1985 Roskilde Festival 20
1985 28 November 1985 NDR Session
1985? Breakfast TV Interview & 1 Track
1986 05 December 1986 Vancouver 86th St Music Hall 90
1986 12 November 1986 Kilburn National Ballroom 90?
1986 17 October 1986 NY Lonestar Cafe 90(?)
1986 20 June 1986 Glastonbury Accoustic Tent
1986 21 June 1986 Glastonbury Second Stage 45min Aprox
1986 21 March 1986 Red Wedge (First Tape Of 1 Only) Hammersmith Odeon
1986 23 November 1986 Bill Ayres USA Radio Show 60
1986 25 January 1986 Manchester Theatre (Red Wedge- Whole Show)
1986 30 July 1986 Gary Crowley Session 30
1986 Ostbercon Lieersommer ?
1986 The Olympia Theatre, Dublin, Ireland 10 min
1987 Christchurch, New Zealand (edited down) 80
1987 01 February 1987 Shepton Mallet Cheese Pavilion
1987 01 March 1987 Wellington Uni 90
1987 03 March 1987 Dunedin Otago Uni 60/90?
1987 07 March 1987 Wellington, New Zeland 100
1987 08 June 1987 Islington *
1987 10 November 1987 Birmingham Hummingbird 85
1987 18 July 1987 Vancouver Folk Festival 20
1987 19 June 1987 Glastonbury (Covers Set) 60?
1987 23 August 1987 Mean Fiddler (& Riff Raff) 90?
1987 24 August 1987 Mean Fidler(minus R.Raff) 90
1987 25 August 1987 Riff Raff Reunion -Mean Fiddler, Harlesden, London 35
1987 26 September 1987 SFX Theatre, Dublin, Ireland 80min
1987 30 January 1987 Channel 4 Wales Interview 5
1987 31 January 1987 Radio Wales Interview 15
1988 07 October 1988 Austin, TX 45min
1988 10 March 1988 Stereodrone Rai Studios, Italy 45
1988 23 July 1988 Mikkeli Festival 10
1988 24 April 1988 Boston Berlee Centre 90
1988 27 October 1988 New York Music Seminar 30
1989 26 August 1989 Reading Festival 90*
1989 29 September 1989 Madrid 80
1989 Which Side Are You On Soundtrack From Video 45
1990 23 May 1990 Barcelona 90?
1990 24 August 1990 Mean Fiddler 60 + 60
1990 25 September 1990 Reading Festival 60?
1990- Interviews Etc (1990-92) 90
1991 Charleston, West Virginia, Canada 15
1991 02 November 1991 Town & Country Club 105
1991 07 October 1991 Amsterdam Melkweg, Holland 25
1991 12 December 1991 SF Warfield 90 + 90?
1991 13 October 1991 Town & Country Club 100
1991 15 June 1991 Radio 1 John Peel Session 10
1991 15 March 1991 Boderline (3 Tracks Only)
1991 15 March 1991 Borderline, London With REM As Bingo Handjob 45
1991 19 August 1991 John Peel Session ?
1991 19 January 1991 Wembly Arena (Great British Music Weekend) 10
1991 19 January 1991 Wembly Arena, London 10
1991 20 April 1991 Sullivan Stadium, Foxbro, MA 25m
1991 23 August 1991 Fiele Festival, Ireland 45
1991 26 December 1991 Mountain Stage Radio (USA) 15?
1991 27 October 1991 Bristol Studio
1991 28 April 1991 Charlston, West Vir. 25
1991 31 December 1991 Hackney Empire (With Kirsty MacColl) 90
1991 Steve Wright Show 45
1991( Radio 1 Richard Coles Interview (The Mix) 20
1991? Fantastic Voyage - Short Comedy Scetch 5
1991? Johnny Walker Interview 10
1991? Nicky Campbell Interview & Session 50
1991? R1 Neil James Interview Re. Dont Try This At Home 10
1992 Radio 1 Round Table 90?
1992 03 January 1992 R1 Newsbeat Interview 5
1992 26 June 1992 Glastonbury Festival 75
1992 28 June 1992 Glastonbury 90
1992 30 December 1992 Hackney Empire 90
1993 13 November 1993 With Nataile Merchant On The Andy Kershaw Show 5
1993 14 September 1993 Chris Evans - Virgin Radio Show 10
1993 15 July 1993 The Garage, Highbury, London 85
1993 18 January 1994 3 Poems Rec For Mark Radcliffe Show(18,19 & 20 Jan 10
1993 25 November 1993 Small Bit From Mark Radcliffe Show(Part Only) 5
1993- Interviews Etc (1993-95) 90
1994 Mark Radcliffe Show - Favourite Poems 15
1994 Radio 1 Interview (From Protest Show?) 10
1994 Radio 1 Mark Radcliffe Interview 30
1994 Radio 1 Protest Show (Edited) 30
1994 Radio Mark Radcliffe Poetry 15
1994 03 April 1994 Various Bits From Signs Of The Times (3,17,24/4/94
1994 03 February 1994 Looking Forward To The Past - BBC R4 History Quiz 30
1994 29 November 1994 Int From The Story Of Pop 5
1994 Small Bit From Music Machine - BBC R3 8
1994? 07 December 1993 Looking For An Old England - BBC R4 Pt 2 25
1994? 14 December 1993 Looking For An Old England - BBC R4 Pt 3 25
1994? 30 November 1993 Looking For An Old England - BBC R4 Pt 1 25
1995 07 September 1995 Small Bit from Phil Jupitus Show 10
1995 10 November 1995 House Of Blues, Hollywood, CA (KNACKARED) 100m
1995 11 July 1995 R1 Clingfilm Show - Choosing 3 Favourite Films 5
1995 11 October 1995 Los Angeles 90?
1995 13 October 1995 John Peel Session & Interview 40
1995 13 October 1995 John Peel Show - Session & Chat
1995 13 October 1995 Radio 1 John Peel Session 15
1995 15 June 1995 Simon Mayo R1 Show (Includes Confession) 15
1995 15 June 1995 Simon Mayo Show
1995 17 November 1995 Minneapolis 1st Ave 90 + 60
1995 24 June 1995 Glastonbury - R1 Int. & 3 songs 35
1995 24 June 1995 Glastonbury 95 (Incomplete) 25
1995 24 June 1995 Glastonbury Festival 15
1995 Song That Changed His Life - Soundbite 5
1995- Interviews Etc (1995-96) 90
1995? 10 January 1995 Billy Bragg Amongst The British - BBC R4 Pt 1 25
1995? 17 January 1995 Billy Bragg Amongst The British - BBC R4 Pt 2 25
1995? 24 January 1995 Billy Bragg Amongst The British - BBC R4 Pt 3 25
1996 03 November 1996 Punk Fiction 5
1996 06 October 1996 Andy Kershaw Show (Live, Interviews & Fave Tracks) 60
1996 13 December 1996 Bristol Anson Rooms 2xC60
1996 14 October 1996 Stockholm Gino 120
1996 17 August 1996 Bills Top 10 Songs 10
1996 18 October 1996 Shepton Mallet Amulet Theatre 90
1996 20 August 1996 Mark Radcliffe Session 30
1996 20 August 1996 R1 The Net Interview 10?
1996 26 September 1996 KSCA Radio, Los Angeles acoustic Performance & Int 25
1996 Smash Or Trash On The Evening Session 10
1997 06 January 1997 John Peel Show Interview 10
1997 12 January 1997 Billy Bragg Show (As DJ Covering For Kershaw) 120
1997 18 April 1997 Plymouth University 105
1997 19 January 1997 Billy Bragg Show (As DJ Covering For Kershaw) 120
1997 29 April 1997 Cardiff University 90
Bob Hawkes
On Tue, 27 Jan 1998 14:46:23 -0000, "Steve Andrews" <sand...@rarerecs.globalnet.co.uk> wrote:
>Hello
>
>I've a new subscriber and am newish to the net so please forgive me if this
>turns up posted on a tropical fish site or elsewhere it shouldn't be.
>
Welcome.
<snip>
>I'm particularly looking for pre 1984 gigs and anything from election night
>last year onwards. Has anyone ever seen a tape of the Roundhouse gig from
>September 1996 listed? I went but didn't bother taping it foolishly thinking
>that Camden would be awash with
illegal
> tapes by the following weekend.
(from which the artist gets no income)
>I'd also
>love a decent tape of last years May Day bash as my walkman was playing up
>and the tape is un-listenable.
>
<snip long list>
I presume you have already bought (at full price) all Bily Braggs official recordings.
This raises the whole question of illegal taping of artists. At our festival recording is not
permitted - even for private use. Anyone caught recording with the intention of selling/swopping
copies would find themselves banned from all future events. Artists make their living from selling
CDs and tapes and rely on good quality recordings to establish and maintain their reputation. Poor
quality bootlegs do nothing to help promote the music or the artist. Many artists need the income
from CD and tape sales in order to make a living. Their "fans" have a duty to support the artist by
buying the recordings they has worked hard to make.
Bob Hawkes
Saffron Walden Folk Festival: 23rd-25th October 1998
Details at http://ds.dial.pipex.com/hawksmoor/swff.htm
John Boocock
Interesting subject, bootlegging, on the one hand: I agree that the
artist gets bugger all from them (other than notoriety possibly) yet
on the other: what about using it as an illegitimate means to an end
when a record company/artist won't release something that the public
would quite like.
As for doing the trade in public I think people should be more
careful given the way the thought police works on the internet. I
can think of at least one band who would benefit from a live release
but if their record company thought there was a chance of this they
would screw the job up good and proper.
And how anyone could possibly want anything by William Bragg is
beyond my comprehension - I still shudder at the memory of his
meaningless rambling at his concert with Dick Gaughan during last
year's Celtic Connections. The laddie with the pile of bootlegs
should gnaw through the straps and get some fresh air................
Betty
(who has a 100% perfect German bootleg of)
Dom Cronin
Steve Andrews <sand...@rarerecs.globalnet.co.uk> wrote in article
<6aksor$5rp$1...@heliodor.xara.net>...
Dear rarerecs,
With a list that long you obviously don't need to get hold of any more
stolen music in order to have something to listen to. Why don't you send
Billy Bragg, say a fiver for each of them, just to show goodwill. I'm sure
if he doesn't want the money, he can think of a good cause to give it to.
Dom
Bill Hewitt (cst)
# I presume you have already bought (at full price) all Bily Braggs official recordings.
# This raises the whole question of illegal taping of artists. At our festival recording is not
# permitted - even for private use. Anyone caught recording with the
# intention of selling/swopping
I think we know what BB's feelings about bootlegging (live recording
anyway) the cassette version of one of his first two lps (the orange
one with milkman of human kindness etc on it I forget the title) came
with side 2 blank and a message along the lines of "confuse the enemy
- bootleg the bragg" (what is the symbol for this is probably a
misquote?)
While I'm on the subject, what is the legal difference that allows
artists to provide "off the sounddesk" facilities for private live
recordings in the states, but not in the UK ?
Maybe the way forward is for bands to provide more "official bootlegs"
Surely the technology is cheap enough now. It does seem to be
happening a bit (richard thompson, billy bragg, oysterband and bert
jansch all have good examples available), but I would like to see more
of these around. There are times that, nice as that band version on
the lp is, you would really like the solo acoustic version, or a
re-arrangement of a song/tune or whatever. In most cases, the only way
to do this is to get the "illegal" version.
I don't support taping of concerts/cds as a way of not buying the
official output, and do buy official bootlegs where they are
available, but,............
--
-------------------------------------------------------------------------------
Bill Hewitt || Computing Support Team
Centre for Cognitive Science || EMAIL : Bill....@ed.ac.uk
Anahata
"Bill Hewitt (cst)" <bi...@cogsci.ed.ac.uk> writes
>While I'm on the subject, what is the legal difference that allows
>artists to provide "off the sounddesk" facilities for private live
>recordings in the states, but not in the UK ?
>
artist agrees to such an arrangement it's OK.
Anahata
ana...@freereed.demon.co.uk + http://www.freereed.demon.co.uk/
ana...@locust.co.uk email to mobile phone 8 line messages max
0171 638 5577 (W) 0171 229 6076 (H) 0976 263827 (mobile)
Andrew Larcombe
Bob Hawkes wrote in message <34ce3f4b...@news.dial.pipex.com>...
>This raises the whole question of illegal taping of artists. At our
festival recording is >not
>permitted - even for private use. Anyone caught recording with the
intention of >selling/swopping
>copies would find themselves banned from all future events. Artists make
their living >from selling
>CDs and tapes and rely on good quality recordings to establish and maintain
their >reputation
The following was written by Steve Knightly & Phil Beer (Show of Hands) in
their spring 97 newsletter:
"By the way, 'Home taping kills music' we are told. Well, we have lost count
of the number of people who have bought our CDs because a friend made them
an 'illegal' tape copy! Feel free - it doesn't kill music, it spreads it."
I'm also sure that (amongst others) Billy Bragg & Fairport Convention have
stated that they do not mind people 'bootlegging' their concerts.
With this in mind, what would be your approach to someone who was taping one
of the aforemention artists at one of your festivals?
/-\ndrew
----------------------------------------------------------------------------
----
Bob Hawkes
Other artists have a contract clause banning recording at their concerts. Jim and Georgina Boyes (No
Master's Voice Co-operative) wrote a paper on this subject for the Association of Festival
Organisers conference a few years back which dealt with the pros and cons of this subject. The
conclusion was to recommend a ban on recording at festivals to protect the income of the smaller
artists. Advice from the Musicians Union also supports this view and points out that the promoter
(me) may be liable if any such recording find their way onto the market in breach of copyright. The
big boys like Fairport are not going to notice a few sales lost through bootlegging, acts like
Coope, Boyes & Simpson (presumably) do. Ultimately it is largely up to the artist. We find it less
confusing to everyone to have one rule for the festival, rather than change the rules for every
concert. Incidently, 47 tape recorders and videos were counted at one concert at Sidmouth '94.
Please note that I only suggested banning people for commercial exploitation of such recordings.
Home taping is a different matter as this is reproducing properly recorded and produced material.
The live mistakes, poor acoustics, etc of a bootleg tape are not passed on. The reduced quality may
well encourage people to buy a CD. The price of the CD can be (and is?) increased to compensate for
a certain amount of copying so no-one looses out. The artist is paid. Not so with selling bootlegs.
Another point raised by the Boyes' paper is videos/photography. We also ban this as we found the
flashing of still cameras, video lights, people moving around to get a good angle to be distracting
to the rest of the audience.
Of course we are continually reviewing our policy....
Steve Andrews
Hello Again
I'm the sad lad who posted up his list of Bragg bootlegs for trade on a few
sites.
As I indicated in my original posting I only bought a modem at Christmas
and this is the reason I haven't responded to the debate (and outrage????)
it caused on some of the newsgroups, particularly the folk ones. I only
realised what the cross next to my message meant about an hour ago.
I did post a reply to Bob from Saffron Walden Festival personally but
didn't realise that anyone else had commented on my message and only Bob
was kind enough to copy it by e-mail personally. I realise that this is the
whole point of news groups but........Oh well...I'm learning.
Betty (John Boocock??) Commented:
"And how anyone could possibly want anything by William Bragg is
beyond my comprehension - I still shudder at the memory of his
meaningless rambling at his concert with Dick Gaughan during last
year's Celtic Connections. The laddie with the pile of bootlegs
should gnaw through the straps and get some fresh air................"
Fair enough comments I suppose. If BB bores you thats fine. My girlfriend
thinks he sounds like the worst Karaoke singer in Essex. I suppose my list
is quite large (I've seen bigger though) and gives the impression that I
just spend my nights endlessly listing to 154 versions of 'The Milkman of
Human Kindness'. I have been collecting since 1984 so its really only about
one tape a month on average. Most of them only get played once in a blue
moon but I try to get new tapes because I enjoy hearing how the songs
develop before and after their official release. I just thought some people
who subscribed to these list might have some interesting stuff for trade.
Dom Cronin suggests:
'With a list that long you obviously don't need to get hold of any more
stolen music in order to have something to listen to. Why don't you send
Billy Bragg, say a fiver for each of them, just to show goodwill. I'm sure
if he doesn't want the money, he can think of a good cause to give it to.'
I'm not sure if in the case of BB the music is in any sense of the word
'stolen'. I have bought all of the UK official releases. He owns the
copyright and licences out the recordings. He has no problem with people
taping his shows and has released several tapes in the past to traders.
He's certainly never asked for any money for them. I once let him have a
copy of a tape a did at Shepton mallet Cheese Pavilion because he said
no-one believed he had played such a venue. If I made a £5 donation
specifically for each tape I owned would this make the recordings any more
legal or illegal? I'll continue to make donations to organisations I wish
to support but not as a result of having too many C90s on my shelf.
Thanks to Steph for posting Billys comments on this issue which I have
already sent to bob personally.
Sorry for rambling. I can't think where I get it from.
I'm off to get some fresh air.
Cheers
Steve Andrews
George Hawes
John Boocock <john.b...@zetnet.co.uk> wrote:
>Interesting subject, bootlegging, on the one hand: I agree that the
>artist gets bugger all from them (other than notoriety possibly) yet
>on the other: what about using it as an illegitimate means to an end
>when a record company/artist won't release something that the public
>would quite like.
There's a simple way round that. You ask the Artist if they mind
you recording them. Saves all this scraping the barrel to find
excuses for illegal activity.
Given Bragg's efforts to get his recordings to market at minimum
price to the 'consumer' this original request sucks even more
than others along similar lines.
>And how anyone could possibly want anything by William Bragg is
>beyond my comprehension
Each to his (?) own . .
>- I still shudder at the memory of his
>meaningless rambling at his concert with Dick Gaughan
Sorry, that description fails to fit any of Bragg's appearances
I've seen; indeed he generally seems highly coherent.
George
Chris Beeson
Re: Recording at Festivals.
There have been times when I'd have loved to have taped a
particular performance, not so much to repeat the experience but
to have the chance to learn a song or some guitar work. This
probably applies /more/ to the small venues and lesser-known
acts.
I don't under any circumstances want to deprive musicians of
their income; but I've just got a lousy memory, and not all the
good songs turn up on CDs. What about taping at singarounds, for
example?
Chris Beeson
J Peekstok
In article <VA.000000d...@beeson.compulink.co.uk>, Chris wrote:
>Re: Recording at Festivals.
>
>There have been times when I'd have loved to have taped a
>particular performance, not so much to repeat the experience but
>to have the chance to learn a song or some guitar work. This
>probably applies /more/ to the small venues and lesser-known
>acts.
I have never objected to being taped if it was pretty clear that someone wanted
a tape for home listening and/or learning. Many musicians, however, object
pretty strongly. Get permission.
>I don't under any circumstances want to deprive musicians of
>their income; but I've just got a lousy memory, and not all the
>good songs turn up on CDs. What about taping at singarounds, for
>example?
Same answer as above.
Just don't make copies and distribute them.
John Peekstok
Ben Kaplan
Steve Andrews <rare...@globalnet.co.uk> wrote in article
To Steve or anyone,
I would certainly be interested in your Billy Bragg boots. I have a very
limited selection of tradable stuff, but we could talk.
Ben Kaplan
Chris Beeson
In article <19980207122...@ladder02.news.aol.com>, J Peekstok wrote:
> I have never objected to being taped if it was pretty clear that someone wanted
> a tape for home listening and/or learning. Many musicians, however, object
> pretty strongly. Get permission.
Yes, that would be exactly how I'd go about it.
Chris Beeson