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The Pretty Things - 1998-12-18

Artist  : The Pretty Things
Date    : 1998-12-18
Venue   : Frankenhalle, Nuremberg, Germany
Lineage : AUD
Quality : EX-
Setlist  :

1. Roadrunner
2. Don't Bring Me Down
3. Havana Bound
4. Under the Volcano
5. S.F. Sorrow Is Born
6. Baron Saturday
7. Private Sorrow
8. Balloon Burning
9. Loneliest Person
10.Come See Me
11.Cries from the Midnight Circus
12.Judgement Day
15.Old Man Going

16. (Get Your Kicks On) Route 66

通算4度目の再結成となるのでしょうか。メンバーは1967年時に2人加入しています。Mark St. Johnはこの時はアンコールのみの参加のようです。

Phil May
Dick Taylor
Skip Allen
John Povey
Wally Allen
Frank Holland ("Garden Shed"で有名な Englandのメンバー)
Mark St. John (Manager)

1993年にEMIとの著作権料不支払い問題が解決し、マスターテープ、著作権のバンド側への返還が行われました。そのため、1967年当時のメンバーとPeter Tolsonで4度目の再結成となりました。その後、Peterの代わりにFrank Hollandが加入し、1998年9月にAbbey Road StudioにてDave GilmourやArthur Brownとともに"S.F. Sorrow"の再現ライブを行いました。その後アメリカツアーを敢行。ツアーの一部ではありませんが、その一つの音源となります。この後からライブ、アルバムレコーディングと活動が活発となっていきます。

ライブ自体はVan Morrisonの前座としてですが、Themと同時期に活動していただけあり、観客の反応は上々です。


演奏曲はその後のライブの基本セットとなっております。珍しいところでは"Under the Volcano"でしょう。少なくとも私が所有している音源では、これ以降演奏されておりません。



----- Latest Information ----

- December 18, 1998 -
Frankenhalle, Nuremberg, Germany
Audience DAT-master, MWM 0118

Preliminary remark 1:

After more than 100 uploads here on DIME you might KNOW that i'm NOT one of those
big-mouthed guys promising the hell of a show and churn out...HMMM...a horseshit.


And definitely the story behind it is minimum the same interesting as the the awesome sounding
tape and the incredible and totally freaked out show The Pretty Things delivered live on stage...


Preliminary remark 2:

Please DON'T ASK ME for Mr. Morrisons recording,
and there ARE enough tapes and bootlegs floating around...

Preliminary remark 3:

BIG THANKS to all supporters, friends and downloaders of
The Pretty Things with all their past & present members...
VERY SPECIAL THANKS to all the previous uploaders, especially
andyschest, leex100 and Homie8, NOT TO FORGET fellow Nuremberg
taper TheSeizure for sharing his 2009-04-03 Roth recording:


Preliminary remark 4:

As far as i know NONE of this recording was ever used commercially.

This recording here comes directly from the "Men With Microphones" archive.
"MWM" started in the 70ies in South Germany with analog recording equipment,
and at least two of them are still recording sometimes (since the 90ies on DAT,
and, lazy as we are, since lately with small, handheld WAV-recorders on SD-cards).
The "MWM" startet as a project of friends sharing their hobbies together. But by
reason of jobs, partners and other interests the circle of all involved shrinked.

Lately i promised to STOP writing these damn long introductions...

I failed...

I'm a bloody liar - BUT I LOVE IT !!

Parental Advisory:

This is a damn long description. AGAIN !
So if you get tired reading - stop it, take a nap - and then proceed...
I tried to eliminate all indexed four letter words and ugly sexual behaviour descriptions.
But i did not eliminate all the fun we relived during transfer, tracking and uploading.
Some of the fun can be found in this following description. Enjoy !


"... one of the greatest R & B bands of all time"
- Van Morrison

"...we adore them!"
- Paul Stanley & Gene Simmons of KISS

"...The Pretty Things - crazy forever..."
- Musikexpress

"Werden verehrt, als wären sie schon tot"
- Rolling Stone

"Phil May wirft sich wie eh und jeh in die Songs als ob es kein Morgen gäbe"
- Rolling Stone

"These grizzled British Invasion-era vets may no longer be pretty, but there's a
weird beauty in the matter-of-fact way The Pretty Things rip through Balboa Island's
13 blues, jazz, and R&B-inflected tunes..."
- Entertainment Weekly 08/ 2007

"...displaying considerably more energy and invention than most what´s around today..."
- Mojo 11/07

"Nach einem Nuklearem Holocaust, was geschieht danach? ... Irgendwo unter verschütteten
Ruinen inmitten der zerstörten britischen Inseln, vier oder fünf haarige Männer graben
sich aus dem Staub. Sie stehen auf und schütteln den radioaktiven Staub von den Jacken.
Sie beraten sich kurz und dann spielen sie Rock & Roll, auch wenn niemand mehr da ist,
zuzuhören. Aber das ist egal. Die Pretty Things sind nämlich einfach nicht tot zu kriegen."
- Mojo

As a rock n roll obsessed kid growing up in the 70's, I thank DAVID BOWIE and his
rollicking PINUPS album, for introducing me to one of the greatest (and underappreciated)
bands of the 60's: THE PRETTY THINGS!
- Marc Lahn

If you've heard the R&B stylings of the Rolling Stones during their early years and
love that, you ain't never heard the Pretty Things! Rawer and dirtier than the
Rolling Stones, the Pretty Things basically played punk blues. If you like raw
and dirty R&B and the Stones are too pussy for you, try the Pretty Things.

Along with The Who's "My Generation" Lp from 1965 this must rank as one of the first
punk albums ever. Listen to the snarling vocals of Phil May and the over amped guitars
of Dick Taylor, and Brian Pendleton, the crashing drums of Viv Prince and the bass of
John Stax. These guys truly made the Rolling Stones look like angels.
The album is rife with hard edged takes on blues numbers as well as bonus tracks of the
first couple of singles. Its raw and powerful. In my opinion the only thing that set the
Pretty's apart from The Who ( who were also on the rise when this album was released) was
The Who added violence to their act, something the Pretty's could have done with ease.
This album should be played extremely, dangerously loud.
In addition any band that dares calls themselves punk or grunge should listen to this
album, because many of them could use the lessons the Pretty's laid down.

If I could set the "way-back machine" grab Sherman and head back to 1965,
I would have been this band's most ardent fan.
How could I have missed these guys?
What a shame that they never got their dues here in the States.
This a fabulous release! Arguably one of the strongest L.P.s released in '65.
Gritty,loud & dangerous...
This is worth every cent spent!
Seek it out...buy it...
and play it...

- about their first LP "Pretty Things "

Biography by Richie Unterberger

Of all the original British Invasion groups, perhaps none are as underappreciated in the
United States as the Pretty Things. Featuring the hoarse vocals of Mick Jagger-lookalike
Phil May and the stinging leads of guitarist Dick Taylor (who actually played in early
versions of the Rolling Stones with Jagger and Keith Richards), the Pretties recorded a
clutch of raunchy R&B rockers in the mid-'60s that offer a punkier, rawer version of the
early Stones sound. Their first two albums, as well as a brace of fine major and minor
British hits (of which "Don't Bring Me Down" and "Honey I Need" were the biggest), feature
first-rate original material and covers, and remain the group's most exciting and influential
recordings. Unfortunately, the band remained virtually unknown to American audiences, most
of whom would first hear "Don't Bring Me Down" on David Bowie's Pin Ups album (which also
included a version of the Pretties' "Rosalyn").

After their initial run of success, the group took a sharp left turn into psychedelia with
the orchestrated album Emotions (1967), impressive singles that owed more to Pink Floyd than
Bo Diddley, and, most significantly, S.F. Sorrow (1968). The first rock opera, S.F. Sorrow
was a major influence on Pete Townshend, who released his much more successful opera, Tommy,
with the Who the following year. Founding member Taylor left shortly after S.F. Sorrow, and
the group continued to record progressive rock and hard rock with less impressive results
through the mid-'70s, although Parachute (1970) was named Album of the Year by Rolling Stone.
The group reunited sporadically for occasional gigs and recordings in their early R&B vein
before officially re-forming to release Rage...Before Beauty in 1999 and Balboa Island
eight years later.

A different one:

Everybody's got to have an idol, an ideal that one strives to reach and, if possible, surpass.
For the Pretty Things, such an ideal were the Rolling Stones. This was really a predictable
thing, though: the band was founded around 1964 by Dick Taylor, former bass player for the
Stones before they actually had a recording contract. Dick quit the band because of financial
troubles and personal ambitions (not content with his minor role since Brian Jones shoved him
in the background), and became one of the founding fathers for the Pretty Things - but the
band still kept a tight connection with the Stones. Initially, their image was supposed to be
modelled after the Stones, only even more hardcore: they were even wilder, had even longer hair,
and were banned from even more TV shows than the Stones ever have. At least, that's how the
legend goes. Too bad that the actual music played by the Pretties was nowhere near as enduring
as the Stones' stuff: the band was nowhere near as professional or talented, and their lead
singer, Phil May, had, to put it mildly, a pretty limited vocal potential. Thus, the Pretties'
early albums are rife with filler, even if the aggressive rock'n'roll energy contained in their
best stuff easily compensates for the weaker numbers.

This all began to change around the Summer of Love epoch: unlike gazillions of their even less
talented and/or ambitiousd colleagues, the Pretties had time and will to jump on the accelerating
rock music wagon (together with the Stones!) and drifted away into artsier, more sophisticated
territory. Unfortunately, the band never really made the big time; despite a few moderate hits,
their image had already been soldered as that of second-rate Stones imitators, and this, taken
together with poor management and inner lineup problems, never did much to improve the band's
financial situation. And yet, it's the late Sixties that count for the Pretties - not every band
can successfully transform itself from a basic R'n'B outfit into a full-blown psychedelic machine,
but that's exactly what happened. The 1967 record, Emotions, is a minor (and thoroughly underrated)
Brit-pop/psycho gem, but, of course, it's the 1968 tour de force, S. F. Sorrow, that the Pretties
are going to be remembered for, if they are going to be remembered at all: the first rock opera
(or 'rock narrative', whatever), a cohesive and complex album with a level of twistedness and
sophistication no other former R'n'B band, not even the Stones, would ever achieve. If anything,
S. F. Sorrow just goes to show that the band had serious potential in them, and were actually
able to realize that potential instead of always drag in the shadow of their superior pals.

Too bad neither Emotions nor S. F. Sorrow hit the big time; after their failure, the disillusioned
Dick Taylor quit the band, and although it dragged on for half a decade more, fuelled mostly by the
energy of Phil May, and released three more LPs at least one of which (Parachute) is said to be
very good, by the mid-70s it was obvious that there was simply nowhere else to go. The Pretties
therefore disbanded into nothing, and despite several attempts at reunions and even some new studio
output and live performances in the Nineties, they're still a pretty dark spot in popular culture.

I'm not an avid fan, of course, but one thing is obvious - the Pretty Things are more than just a
potential bait for collectors of Sixties' antiques (and while we're at it, it is every Sixties'
antiques collector's duty to procure the band's catalog in its entirety, now!). They didn't have
that much talent in them, nor did they possess a particular thoughtful inspired talented creative
guy; most of the band's best compositions are group efforts. Yet they seem to have possessed a
certain 'group mentality' that was enough for their records, at least, the 1967-68 ones, not to
sound like weak pathetic clones, but instead provoke a strong and deep emotional reaction.
They were trend-followers, but they didn't follow these trends in half-measures: there's enough
soul and feeling in their music to make it likeable. They never deserve anything more than a weak
two on the band rating scale, that's for sure, but neither should they just be allowed to sink in
the general mire of talentless mid-Sixties rip-offs because, frankly speaking, they were better
than most. Don't believe me? Buy S. F. Sorrow today and spin it three times in a row to see what
I mean. Then slowly and gradually work your way forwards and backwards, never letting your
expectations run before the actual music - and hoopla, you just might have something there...


About this concert:

Growing up in the 60ies. Remember the most important male schoolyard-talk? NO, not about girls...
"Beatles or Stones ?" was the prime question. My usual answers, "NO, The Who!" or "NO, The Kinks!"
left most of the schoolmates mouth agape...and sometimes my most beloved "NO, The Pretty Things!"
divided the crowd in two parts, half of them completely shocked, the others speechless with amazement...

The Pretty Things - the baddest kids on the block...back then...

Some 30+ years later, in September 1998, the Leo family supported Iain Matthews during his first German
tour with a band after almost 20 years of soloshows, and at one of the shows, at famous "Musikclub Hirsch"
in Nuremberg, we helped our friends Joe and Otto (HO*T FM, Hof) to record this concert on multitracks for
a Blue Rose live CD release. One of the club owners, a very well known Franconian concert impressario, is
a real big and longtime fan of Iain, and after the soundcheck we sat together and talked - about music,
influences, musical heroes, past times, and about the 60ies. Cannot remember who asked the question, but
there it was: "Beatles or Stones ?"
And believe me or not, at the very same moment three of us shouted: "NO, The Pretty Things!"- and all
started laughing. Iain told us interesting stories about the 60ies and all the musicians he had met, and
the concert promoter about his devotion to Phil & Dick and the boys. It ended in the preview of the soon
upcoming, first ever Nuremberg Van Morrison show in December - with very special guests The Pretty Things...

Van The Man was invited to play the "Christmas Rockpalast" in Düsseldorf on December 19,
and it was reported that it was his own idea to get the Pretty Things as support act.

And there was the need of some kind of a rehearsal show the day before, so our Nuremberg friend took the
chance with his concert- and booking agency Concertbüro Franken to get both acts to Nuremberg @ Frankenhalle.

The Frankenhalle, inaugurated in 1984 as a part of the "CCN CongressCenter Nürnberg", is a characteristic
multifunctional hall, a typical early 80ies (and, not just architecturally, quite ugly) concrete building
with lots of steel and glass elements, planned first and foremost for exhibitions and conferences; of
secondary importance was the disposition for athletic events and sports - and, at long last, as it seems,
for concerts. At full capacity there is place for 5000 people standing, and about 2700 seated.

As usual the sound for rock concerts inside the building is more or less satisfying (more less...hehehe...),
like in most of those multi-purpose arenas it depends to a large extent with the PA-system used and mainly
with the skills of the sound-engineer (check the actual discussion during the Springsteen-tour in the USA),
PLUS your own place of viewing/listening. But inevitably through this kind of construction there is a fair
amount of reverberations probably unavoidable...and sometimes some structural components induce resonance
frequencies...hum and buzz is clearly audible, so called "muddy sound", depending on the style of concert.

Added in the folder are a couple of pics of the hall, inside, outside and a seating plan.
Plus i've added a German tourposter and a ticketscan...

Opening time for the hall was 6:00pm, the concert start was scheduled at 8:00pm, and as Peter has asked us
to come EARLY, we tried our best and found a spot for our car in a well crowded parking lot at 6:10, and
it lasted about 20 minutes, including an everlasting & tight security check, to get inside the building.
The hall was about one third full, mainly between stage and mixing desk - nearly 90 minutes before the fun
should start ! - and people in seemingly endless rows stood outside...seemed to be a crowded adventure !
Finally we found "our reserved area", front row at the barrier facing the right PA stack - and inmidst
two bus-loads of pretty (but extremly chatty) Austrian girls & ladies (and ostensible ABSOLUTELY Van The Man
freaks). And as soon as my headaches (incredible LOTS of Schnatter, Schnatter & Schnatter...) became vicious,
our concert promoter stood with a broad grin behind the barrier. He gave us a short update: venue close to
"sold out" with more than 4500 tickets payed; Van truly pissed - Candy was ill; The Pretties in the shape
of their life - no wonder, in front of a packed venue; and NO chance for a board patch, not even once for
the support act - did i say that Van was truly pissed - so his Manager was pissed, his soundengineer was
pissed...nearly everybody concerning the main act seemed to be pissed...lol. Peter guided us behind the
barrier, and with a few photographers from the local press and the security guys we stood "in the REAL
first row in front of the first row". For sure the best place for a close onstage view (and a pretty good
stealth tape...byebye, all my talkative Austrian Schnatterliesen !).

Short after 8:00pm the room blacked out...and Peter stood there in a spotlight, informing the audience
about the AWOL Candy Dulfer (she had to remove a tooth...at least THAT was what he told the crowd).
Then he presented Mark St.John (who WAS quite a nice, friendly and modest person - BUT that is now over
10 years ago), and together - with a short sketch of their life and crimes - they introduced...

"...they have 61 convictions...and in their 50ies they're STILL the baddest kids on the block..."


There they stood, with full illumination, and all dressed in black suits, white shirts, black ties and
sunglasses (they looked like a convention of elder "Blues Brothers"), and a mighty version of "Roadrunner"
startet to thrill the whole room. The first four songs suffered from the usual phenomena all those
"support acts" seems to sustain worldwide - a poorer mix compared to the "main act", and here with nearly
inaudible guitars - BUT If you listen closely to the recording, it's WAY BETTER than it was live in concert.
We've seen Peter heavy talking with his two-way radio, and at the beginning of track 6, "Havana Bound",
the sound improved to nearly crystal clear...(and WAS definitely BETTER than during Van Morrison's set
later...but that's another story...). The more they played, the more reactions came back from the packed
audience, and the band tripped-out...COMPLETELY. All hell was let loose...

One of our personal highligts was during "Under the Volcano", when suddenly Skippy Allen stood up from his
drumstool, grabbed the right sleeves of his suit and shirt, and pulled both down with one scratch - just
in time to start his drum solo in the middle of the song WITH A COMPLETELY BARE-NAKED RIGHT ARM !!!

Sadly this fantastic song was omitted during the Rockpalast show the next night...

Even if it was hot like a sauna (not only onstage), they played like there was no tomorrow,
fully dressed with their complete garment (except the "naked" Skip...hehehe) they sweated like hogs...

"Baron Saturday" was with Dick Taylor on lead vocals, John Povey did the stunning duet & harmony vocals,
and the acoustic "Loneliest Person" was truly heart-melting, we stood there with tear-filled eyes...
After "Cries from the Midnight Circus" - with a lot of fine guitar work - guitarist Frankie Holland was
introduced as the NEW band member, and they closed their outrageous set with a superb "L.S.D. -> Old Man Going".

For the encore they had grown to a septet, Mark St. John came with his favorite instrument, a tambourine
and did some backing vocals (not the kind of stuff he's doing nowadays...). At the end Skip had not only a
ruined suit and shirt, also his drumset was killed completely.

It was clearly visible that they had a BLAST onstage,
same had we, especially first row fronting the first row ;-)

I'm sure a lot of you have attended concerts where
the main act was "beaten" by the support act...
Now you're wondering if this was happening here again ?


He was in a bad mood (did i say he was truly pissed?), and this rubbed off on his concert.
Candy Dulfer was ill and therefore substituted, and Van was onstage roughly just about
60 of the, in total, 90 minutes long show. Not talkative, neither to the audience, nor to
his musicians, and he had some severe disputes with them, leading minimum three times to
musicians leaving the stage...surely unplanned. Sid Griffin once told me that this commerce
was also quite usual during the times his wife Kate St. John was in Van's band, hire & fire,
Jeckyll & Hyde, beauty & the beast. Later we heard that it was SO close before complete truncation.

Funnily enough, at "Christmas Rockpalast" the next night Van was on FIRE,
inspired, talkative, caring, his band was ecstatic, the whole performance
was top-notch, especially in direct comparison to the fucked-up night before...

Sadly, arising thereby, it was definitively our very last Van Morrison
live concert (and believe me, my wife was a real & very devoted FAN...).

About the recording:

The quality of the recording does justice to the really outstanding performance - IMHO.
I did NOT removed a couple of handclaps at the beginning of track #04. and during
track #31. - they are resulting of a concert promoter NOT taking care of a taper...




Nuremberg, Germany
December 18, 1998

"Nuremberg" is the german "Nürnberg"


recorded by lonetaper, audience to DAT

OKM II R professional, Studio Version > terminal voltage adapter Soundman A3 (impact noise
setting on "linear", attenuation -20 dB) > 'Line In' portable Sony TCD-D100 (16 bit, SP 48 kHz) >
> DAT (Maxell HS-4/90s, Helical-Scan 4mm Data Cartridge, 90 meter tape)

DAT (master) > Tascam DA-20 II, S/P-DIF out > Digital Cable (coax) > > Behringer Ultramatch SRC 2000
(Sample Rate Converter & Jitter Remover) > Digital Cable (coax) > Soundcard, S/P-DIF in > CD Wave (recording) > Harddisc >
> lonetaper's secret box of miracles > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME

the complete concert:

01. ...Franconian concert impressario Peter Harasim's intro 0:49.15  
02. ...Manager Mark St.John & Peter: a crime story  0:59.70
03. Roadrunner <Ellas McDaniel> 2:45.64
04. Don't Bring Me Down <Johnny Dee> 2:49.27
05. ...we put out an album called "Freeway Madness"... 0:21.54
06. Havana Bound <Phil May/Peter Tolson> 4:14.19
07. ...song from 70ies LP "Savage Eye" 0:14.49
08. Under the Volcano <Phil May/Peter Tolson> § 5:36.37
09. ...way back in 1966/67 we made an LP... 0:31.60
10. S.F. Sorrow Is Born <Phil May/Dick Taylor/Wally Waller> 3:02.35
11. ...skip a few more numbers... 0:38.67
12. Baron Saturday <Phil May/Dick Taylor/Wally Waller/John Povey> # 3:54.13
13. ...Dick & John... 0:29.18
14. Private Sorrow <Phil May/Dick Taylor/Wally Waller/John Povey/Twink Adler> 4:35.20
15. -> Balloon Burning <Phil May/Dick Taylor/Wally Waller/John Povey> 3:33.34
16. ...thank you...now the conclusion... 0:38.14
17. Loneliest Person <Phil May/Dick Taylor/Wally Waller/Twink Adler/John Povey> % 1:26.51
18. ...old Pretty Things hit records now... 0:26.57
19. Come See Me <P. Tubbs/J.J. Jackson/S. Barnes> 2:47.44
20. ...remember "Parachute", remember the 60ies? 0:31.44
21. Cries from the Midnight Circus <Phil May/Wally Waller> 5:30.13
22. ...Frank Holland on guitar... 0:32.08
23. Judgement Day <Snooky Pryor/B. Morrison> 3:28.04
24. ...1964...his daughter was called after this record... 0:27.06
25. Rosalyn <Jimmy Duncan/W. Farley> 2:32.25
26. ...time to say good nite...back in 65... 0:30.30
27. L.S.D. <Dick Taylor/Phil May> 3:59.54
28. -> Old Man Going <Phil May/Dick Taylor/Wally Waller/John Povey/Twink Adler> 2:52.70
29. ...thank you...good night/crowd noise... 0:51.39

30. ...wanna hear one more? 0:34.08
31. (Get Your Kicks On) Route 66 <Bobby Troup> & 4:51.23
32. ...thank you/final crowd noise 0:43.51

total: 67:20.73 mins


§ - including Skip's striptease and a drum solo

- Dick Taylor on lead vocals and John Povey doing duet & harmony vocals

% - heart-tearing acoustic version
& - The Pretty Things septet onstage including Mark St. John


the original 1967 band-lineup:

Phil May - lead vocals, acoustic guitar, harmonica
Dick Taylor - electric & acoustic guitar, vocals; lead vox on #
Skip Allen - drums, percussion
John Povey - keyboards, harmonica, percussion and vocals
Wally Allen aka Waller - electric & acoustic bass, vocals

plus the NEW band member:

Frank Holland - electric & acoustic guitar, vocals

and during the encore:

Mark St. John - backing vocals, tambourine

Please support the artists, visit their concerts and BUY their CDs...

Check out their websites...


THIS TORRENT IS DEDICATED TO THE PRETTY THINGS...with all their past & present members...
VERY special thanks to Peter, Axel, and all involved at Frankenhalle...

Big thanks to my wife, Mrs. Leo, for supporting
and taking an active part in all my crazyness...
LIKE THE ANTARCTIC ICEQUEEN, despite the everlasting & tight security check.

No animals were harmed in the making of this
recording or during the mastering and transfer.

Please write your comments to show your interest in this kind of music.

You know, our friend Dave T says: "There's always more to come..."
And i'll promise you to keep MY tapes coming...


Absolutely no selling! Do not alter (remix/remaster etc...) this recording in any way, repost
it to other sites or even reseed it here on DIME without my permission - please feel free to
ask me priorly. DON'T convert it to mp3 or other lossy formats except for your own personal use.
And PLEASE do not share the content via rapidshare, mega-upload or similiar sites...by no means!

Recorded, mastered, transferred & finally uploaded by lonetaper on Dime, May 21, 2009. This is "MWM 0118"