Dead Kennedys + Flipper + No Alternative @ Berkeley, CA 1981-06-28 (Terry Hammer collection)

remind me to try to listen to this 

DEAD KENNEDYS https://we.tl/t-fYgh6nNMtd
FLIPPER https://we.tl/t-bna8S8EUTX
NO ALTERNATIVE https://we.tl/t-GLd4a378H3

 

Dead Kennedys
Keystone
Berkeley,CA
1981-06-28 ()

THTP Release

Recording chain:
Stage mics > splitter (split to house snake/SBD and TH snake) > TH dedicated snake >
Peavy MkII 12 channel mixing board (10 channels snake, 2 channels audience mics) >
AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape > Unknown trader tape generations > Terry

Archival Process:
1999: Sony TC-KA3ES > TDK SA-90 tapes playback (NO Dolby) > BBE 462 Sonic Maximizer (to clean up tapes) >
Tascam DA-30 DAT > HHb DAT-125 DAT tape
2002: HHb CDR-850 Professional CD Recorder (In real time) > HHb CDR74 Gold 100 year archival grade CDRs
2005: Transfered to HDD in AIFF file format

Dime release processing: AIFF Master Files > FFMPEG > 16 bit FLAC 8 > tagging, cover artwork, checksums.

Recorded, preserved, and master AIFF files provided by: Terry Hammer

Setlist:
01. We Got A Bigger Problem Now
02. Nazi Punks Fuck Off
03. Terminal Prepie
04. Dog Bite
05. Drug Me
06. Moral Majority
07. Banter
08. Government Flu
09. Forest Fire
10. Riot
11. Police Truck
12. Buzzbomb
13. Holiday In Cambodia > Someone gets hurt
14. Boom Boom Boom (w/Bruce Loose)
15. Louie, Louie (w/Bruce Loose)
16. Too Drunk To Fuck

Length: 49:02

Band:
Jello Biafra (Eric Reed Boucher)- vocals
East Bay Ray (Raymond Pepperell) - guitar
Klaus Flouride (Geoffrey Lyall) - bass
Darren Peligro (Darren Henley) - drums

Notes:
* If I understand this lineage right, this was a Terry master, which was lost in the warehouse fire, and Terry got it back via many badly done tape dubs from a trader until the many generation worn tape returned to its master, so to speak. This is why this is easily the worst technical sound of any of the THTP releases. But it's still a very cool performance, and features Bruce Loose from Flipper on two of the last tracks, which is very unusual. But do not grab this if you are looking for high fidelity. Do grab it if you are looking for a very special moment in musical history. Too many regular bias tapes, too many dubs, results in very little audio data remaining, but here it is, for better or for worse. Even with this said, I've heard much worse stuff, this is listenable.

* Darren is now drumming for the band!! Very exciting. As I mentioned, he got the call to join the band when visiting a friend at our apartment. After hearing the Wolvarines, with Ted, it was not hard to see why Ted left the band, and why they moved in this more hardcore direction.

* The DKs are now well on their way to their hardcore future.

* Band website: http://www.deadkennedys.com/

* Note: this was when hardcore started, someone got hurt, don't know the story, but that happened a lot more after hardcore than before it because it was much more violent.

* Jello: "Are we as good as Merle Saunders yet?" Merle Saunders, the Jerry Garcia Band, etc, were frequent players at the Stones.

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No distribution in lossy formats!!
No selling!!
No bootlegging!!
No remastering!!
Yes sharing. Definitely share.

Support the artists when or if they play, and buy their records/merchandise.

Please correct any errors or oversights in this information in the comments section so the information can be as accurate as possible.

If you can find related materials like flyers, posters, ticket stubs, even photos, etc, please add them in a comment and I will add them to the main release folder, so that can be included on the next re-seeding. Every bit is welcome, and as I am time constrained on this project due to the amount of material, I cannot spend as much time on each release doing research as I would like, so if we can add to and improve the information and release contents during this series, that would be great.

Please make an effort to pick at least one of these THTP releases and keep it seeded for as long as you can, particularly the lesser known groups. That will really help out long term.

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About Terry Hammer and the THTP:

Someone put my feelings very well about these recordings in the following quote. I can't really improve on their words beyond noting that these recordings sound absolutely and utterly stunning, and I consider myself incredibly lucky to be able to present these to you here in their original, first generation, lossless hi-fidelity versions, for the first time ever.

"[These recordings were] recorded and preserved by collector/engineer Terry Hammer, for broadcast over the UC Berkeley station KALX and several others from the 1979 -1981 period. Anyone who spent a night at one of these clubs knows how chaotic the atmosphere was. That he was able to, not only get a decent feed from the sound mixing board, but was also able to get clean recordings was something of a miracle. And the fact this guy did it over and over again is pure dedication to the cause of preserving history for decades to come. Fortunately for everyone, he’s been making these gems of history available and their value as historic documents is inestimable. This is really exciting stuff and I am grateful for Terry’s foresight and deft skill."
src: https://pastdaily.com/2014/06/25/gang-four-live-american-indian-center-san-francisco-1980-nights-roundtable-concert-edition/

As Terry notes about the process of recording these shows: "Like all of my live recordings this was mixed direct to 2-Track Reel To Reel (and Cassette deck for backup and personal use) using headphones. Sitting in the club with the loud P.A. sound trying to drive the amp in my mixing board loud enough to hear what I was mixing.If you've ever been to a live concert,then,you know how loud it can be."

If you've ever been looking for an excuse to upgrade your sound system, these recordings certainly should provide you with some motivation, because they have incredible sound. And if you already have a quality sound system, you are in for a treat!! The audio goes straight to 20k hz, no losses I can detect. Due to the reality of tapes, even high end as used here, the low end starts at 47 hz.

And if you want to learn more about this incredible musical era, listen to the stuff you haven't heard, there are amazing gems in there.

Do we call these soundboards? Technically not precisely because this is not the house mix, these shows were mixed using a dedicated mixing board, with an additional 1 to 2 audience mics (1 for Mab because he needed 11 snake inputs), 2 at other clubs) in the mix. But I call it the Terry Hammer Tape Project (THTP) to make sure there is no doubt about the project's creator.

TECH:
Note that Terry made 2 master recordings (recording at the same time) when he mixed these shows live:
1: Reel to reel, for the radio stations:
Technics RS-1500 Reel To Reel (mostly TDK Audua L-1800 & LB-1800 tape with back coating or Scotch 206 / 207 with back coating. Maybe a few Maxell UD-XL). All the KALX shows went to KALX, they supplied the reel to reel tape.

2: For his own use, and as backup in case something happened to the reels:
AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape

Terry isn't sure, but thinks the audience mics he used maybe were Electro Voice EV-DS35's.

Info: http://www.bbesound.com/products/sonic-maximizers/482i.aspx

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 - teetering

 

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 Flipper
Keystone
Berkeley, CA
1981-06-28 (Sunday)

THTP Release 58

Recording chain:
Stage mics > splitter (split to house snake/SBD and TH snake) > TH dedicated snake >
Peavy MkII 12 channel mixing board (10 channels snake, 2 channels audience mics) >
AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape

Archival Process:
1999: Sony TC-KA3ES > TDK SA-90 tapes playback (NO Dolby) > BBE 462 Sonic Maximizer (to clean up tapes) >
Tascam DA-30 DAT > HHb DAT-125 DAT tape
2002: HHb CDR-850 Professional CD Recorder (In real time) > HHb CDR74 Gold 100 year archival grade CDRs
2005: Transfered to HDD in AIFF file format

Dime release processing: AIFF Master Files > FFMPEG > 16 bit FLAC 8 > tagging, cover artwork, checksums.

Recorded, preserved, and master AIFF files provided by: Terry Hammer

Setlist:
01. Terry intro > Shine
02. Way Of The World
03. Life Is Cheap
04. You Nought Me
05. Love Canal >
06. Love Canal
07. Ha Ha Ha

Length: 45:26

Band:
Bruce Loose (Bruce Calderwood) - bass, vocals
Will Shatter - bass, vocals
Ted Falconi - guitar
Steve DePace - drums

Notes:
* RIP Will Shatter (December 9, 1987). You are missed. "The light that burns twice as bright burns half as long - and you have burned so very, very brightly". A more fitting epitaph for Will I am hard pressed to come up with. If ever there were two true soul brothers, it was Bruce and Will. I'm glad I got to hang out with Will, he was a special guy. Interestingly, he was actually raised in upper class Britain, something that would become evident if you ever had the privilege of hearing him discourse at great length on some scientific subject or other at a late night after hours party in his warehouse space. That's Will on start of Shine talking to the soundman.
It's truly great to hear Will's voice coming back to us through all these years, without the murk of one too many tape gens clouding the ether. RIP, again.
* About band (a remarkably well done piece): https://en.wikipedia.org/wiki/Flipper_(band)
"Flipper is an American rock band formed in San Francisco, California in 1979, continuing in often erratic fashion until the mid-1990s, then reuniting in 2005. The band influenced a number of grunge, punk rock and noise rock bands. Their slowed-down, bass-driven and heavily distorted style of punk is also considered a key forerunner to sludge, and influenced bands such as the Melvins and Nirvana, whose bass player Krist Novoselic played with the band in the 2000s.
...
Flipper was founded by former Sleepers member Ricky Williams (vocals), former Rad Command member Ted Falconi (guitar), and former Negative Trend members Will Shatter (bass) and Steve DePace... Founding member and original vocalist Williams was credited for naming the band,[He named all his pets Flipper if I remember right] but was fired before it made any recordings.
Bruce “Loose” Calderwood replaced Williams and he and Shatter then went on to trade vocal and bass duties, with both bringing a bass onstage. Falconi, a Vietnam War veteran, played a uniquely distorted style of guitar.
Flipper's first recordings appeared in late 1979 on the SF Underground 7" EP released on the newly formed Subterranean Records, followed by the "Love Canal"/"Ha Ha Ha" 7" single in 1980.
The band regularly performed in the San Francisco area and attracted a large following. Simultaneously, their uniquely slowed-down and raucous approach to punk managed to infuriate other members of the local punk scene, especially with the burgeoning popularity of faster-paced hardcore punk. Mark Arm claimed, in the 2006 documentary American Hardcore, that Flipper's charm as a band lay in their ability to upset audiences while attracting their undivided attention and curiosity at the same time. Fans began spray painting "Flipper Rules" in various locations around San Francisco and eventually the world."
* However, words will always fail to describe the chaos of a Flipper show. Despite what the above article says, many of their shows were in tiny clubs (Ruthies Inn, Berkeley, The SF Tenderloin located 'Sound of Music', and many others, where the crowds might number no more than 20 or 30.), with tiny but wildly enthusiastic crowds. Flipper reveled in inducing the same chaos in their shows as they generated for themselves day to day, which is what made their shows so intense. Don't be fooled by the David Yow/Falconi/DePace band that recently finished touring the world, that has almost nothing to do with this Flipper, though it's nice for people who could never see the original band.
* Of all the bands I regret having missed seeing, Negative Trend is probably number one, but they collapsed I believe before I got to the Bay Area.
* We're all hoping we can get Bruce back on stage one of these days, but he has some serious health issues, and a major back injury, so touring for him is incredibly painful - it would have to be something that worked for him healthwise. But keeping fingers crossed. Bruce today is remarkably similar to the Bruce of those days, still has the same keen, probing, questioning, sarcastic, mind, and still the same Fuck You attitude that made Flipper one of the all time great punk bands, whose influence rippled far and wide.
* Bruce was raised in Northern California hippy land (Northern California back then was home to a huge black market marijuana industry, which is why it remained the stronghold of reggae and Deadheads for decades to come) if I remember right, but I believe spent his teenage years in San Francisco. He met other soon to be well known punk rockers at high school there. And I think he carried the best parts of that early hippy thing with him into Flipper, because there really was nothing like a Flipper show, for all the right reasons. If memory serves, Bruce started out as Bruce Lose, but changed it to Bruce Loose to be 'less negative'.
* Flipper was the polar opposite of the looming 'hardcore' bands, with their 30 second long songs, and would often go on a seemingly endless, and epicly great, extended versions of their songs. Some of their favorite vehicles for this were "I am the Wheel", Shine, "Love Canal". In a sense, Flipper of this era could be compared to the very wildest most out there years of the Dead, back when they were doing the 1966 acid tests, long before 'Dead Heads' existed. If ever a band embodied all the attributes of true punk rock, including not caring what other punks thought, it was Flipper.
* Generally, whoever played bass was not the lead singer for that song, between Bruce and Will. For example, on "You Nought Me", that's Will singing.
* As with the Mutants, pay attention to what they are singing about, it's worth it...
* Flipper would often have a sax player sit in for a song or two, but not this set.
* "I've got to strip this flesh from my bone... I've got to hammer the walls with my hands... with my hands..."
* Bruce: "Is everybody on speed or something? I'm getting this contact high like a mother fucker... anybody got a line?". Despite the attention heroin gets (due to the many people who died of overdoses), crystal meth was one of the biggest drivers of the underground scene, it's a big reason those late night after hours parties went so late, nobody felt like going to bed or stopping.
* Check out "Way of the World" if you're in doubt about who the real punks of this scene were. Amusingly, just to give hardcore guys shit, at their Marin daytime show (available on dime), Flipper actually did 2 'punk' songs, 30 or 45 seconds long, which was really funny to anyone who got the joke.
* Includes photos.

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No Alternative
Keystone
Berkeley, CA
1981-06-28

THTP Release 9.

Recording chain: Stage snake > splitter > dedicated snake >
Peavy MkII 12 channel mixing board (10 channels snake, 2 channels audience mics) >
Technics RS-1500 Reel To Reel (mostly TDK Audua L-1800 & LB-1800 tape with back coating or Scotch 206 / 207 with back coating. Maybe a few Maxell UD-XL)
Archival Process: Reel to Reel > Transferred to DAT in 1999 using Tascam DA-30 DAT Recorder > DAT tapes transferred to 100 year archival quality CDRs in 2002 using HHb CDR-850 Professional CD Recorder (in real time)  > Transfered to HDD in AIFF file format 2005.
Recorded, preserved, and master AIFF files provided by: Terry Hammer
Dime release processing: AIFF > FFMPEG > 16 bit FLAC 8 > tagging, images, checksums.

Setlist:
01. Folsom Prison Blues
02. Metro Police Theme
03. Rockabilly Rumble
04. Witch Doctor
05. You Just Gotta
06. All By Myself
07. I See
08. Dead Men Tell No Lies
09. Boy With A Needle
10. One Hand Loose
11. My Father's Son
12. Boppin' Drunk On Mars
13. Lonesome Train
14. Rebel Youth
15. Brainache
16. Dyin' In The U.S.A.

Length: 39:44

Band:
Johnny Genocide (Hugh Patternson) - vocals, guitar
Greg Langston - drums
Jeff Rees - bass

Notes:
* This was the 'Punkabilly' phase of No Alternative, they serve up a smoking hot set, the band is on.
* About band: https://en.wikipedia.org/wiki/No_Alternative
* A special note, Hugh "Johnny Genocide" Patternson and his lovely wife Jennifer (one of my oldest friends) were instrumental in making this project happen. So a big thanks to both of them.
* "Highly influential early punk / hardcore band from San Francisco, California, originally active from 1978 to 1982. No Alternative started off in San Francisco in 1979. Members Johnny Genocide (Hugh Patterson) and Jeff Rees formed KGB a year earlier with Drummer Zippy Pinhead and Guitarist Ron Ramos. Johnny Genocide had previously been guitarist for the Offs. KGB can be heard on the “Live at the Deaf Club” LP. The name change came when Zippy and Ron left and Johnny Genocide took over guitar. Drummer Greg Langston (from Tuxedomoon) took over drum duties in 1980. The band played constantly and became a club favorite. Shows with X, Black flag, the Plugz,Cramps, Flamin’ Groovies, Gexa X,Lydia Lunch,Sleepers…..The list goes on and on. The band took a break in 1983 but reformed briefly in 1989. Since 2006 with the addition of Max Volume (Naked Lady Wrestlers) on Bass, the band has been playing a few shows per year.
- Greg Langston"
source: http://www.bottomofthehill.com/20190720.html
* "I See" starts: "If you people can't fuckin' dance to this... then.. fuck it".
* Brief Terry Hammer outro: "next on the bill, Flipper, and then the Dead Kennedys"

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