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Message: [QUOTE="Hans Sprungfeld, post: 4091106, member: 181"] The bootleg I listed was 11/36/78 at LA's Roxy, six-piece band (no horns) and 2 backup singers. "Wavelength" & "Kingdom Hall" were the only new songs, and I just found out it was a Warner promo recording, though my copy has no such indication. And in response to the Joe Jackson/Elvis Costello mentions above, among my live cassette recordings that I retrieved this week were ones I made in 1982 & 1983 at Forest Hills Tennis Stadium - Elvis & the Attractions after "Imperial Bedroom" came out, and two consecutive years of Talking Heads. The differences in T Heads sound/lineups roughly corresponds to my noting "The Name of This Band..."beneath your mention of" Stop Making Sense." In a nod to [USER=2500]@storrsroars[/USER] , I'll note that I'm referring to the second LP in" The Name of..." set, which introduced the larger prep-meets-funk band (rather than the earlier spare art school sound-meets-Eno). Tbh, I've barely listened to Joe Jackson who I decades ago dismissed as inferior to Costello, who himself came out of nowhere in '77 to eclipse Graham Parker, when" Stick to Me" did not live up to expectations generated by "Howlin' Wind" and "Heat Treatment." As I drive shortly to Springfield, I'll listen to the recommended 2012 GP album and see if NYC live JJ catches my interest. I don't rule it out, and my others from this thread will be "One From the Road" (which I don't think I've ever heard), and "Alchemy," which kicked off the thread, and never got heavy rotation, but I've always liked Knopfler's overall sound, and how he upheld a certain guitar hero vibe later in time, and was one of the last (for me) of such kind. For the record, "Allman Brothers Live at Fillmore East," (expanded) "Live at Leeds," and "Waiting for Columbus" are the Boomers' 'right answer' to the original question...even if Feat's live one came after I was full punk, jazz, and beyond, and had already logged lots & lots of hours in the first half of the 70s with the peak Lowell George years that were within the best of the best of major label hell that made punk so necessary. [/QUOTE]

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