1981 Bootlegs – Saxon Deep DISCOGRAPHY

1981 (Green marked we have)

Date	Location	Recording	Time	Quality	Bootleg	Official release
1981, Jan 23	Sports Centre in Bracknell, England	AUD	75	A-	CD	No
1981, Feb 14	Jaap Edenhal in Amsterdam, Netherlands	FM	29	5	CD	No
1981, Feb 16	Hippodrome de Pantin in Paris, France	AUD	22	D	CD	No
1981, Feb 27	Rhein-Main Halle in Wiesbaden, Hesse, Germany	AUD	45	5-	CD	No
1981, Mar 16	Palazzo dello Sport Bologna Italy	AUD	??	??	CD	No
1981, Mar 17	Teatro Tendastrisce Rome Italy	AUD	65	5	CD	No
1981, Mar 18	Teatro Tenda Florence Italy	AUD	74	B	CD	No
1981, Mar 19	Palasport, Torino, Italy	AUD	72		CD	No
1981, May 4	Nakano Sun Plaza Hall, Tokyo Japan	AUD	82	3-	CD	No
1981, May 5	Expo Hall, Osaka Japan	AUD	82	5+	CD	No
1981, May 6	Aichi Kinro Kaikan, Nagoya Japan	AUD	80	gd	CD	No
1981, May 7	Shibuya Koukaidou, Tokyo Japan	AUD	85	gd+	CD	No
1981, May 15	TV Studio Bremen Germany	VIDEO	25	gd	VIDEO	YES
1981, Jun 3	Hof Ter Lo, Borgerhout Belgium	SB	52	ex+	CD	YES
1981, Jun 22	Velodrome de Anouta, San Sebastian Spain	AUD	49	gd+	CD	No
1981, Sep 30	Alabama Munich	VIDEO	18	gd	VIDEO	No
1981, Oct 24	Hammersmith Odeon in London, England	SB	74	A+	CD	No
1981, Oct 25	Hammersmith Odeon in London, England	AUD	85	ex+	CD	No
1981, Oct 31	Jaap Edenhal in Amsterdam, Netherlands	AUD	74	3-	CD	No
1981, Nov 5	Ernst-Merck-Halle, Hamburg, Germany	AUD	76	A-	CD	No
1981, Nov 19	Westfalenhalle 3 in Dortmund, Germany	AUD	72	C	CD	No
1981, Dec 3	Teatro Palapartenope, Napels, Italy	AUD	72		CD	No
1981, Dec 8	Teatro Palapartenope, Naples, Italy	FM	72	A	CD	No
1981, Dec 9	Palasport in Brescia, Lombardy, Italy	AUD	74	D	CD	No
1981, Dec 10	Palazzo dello Sport in Genoa, Liguria, Italy	AUD	70	B	CD	No
1981, Dec 11	Teatro Tenda in Turin, Piedmont, Italy	AUD	69	5	CD	No

1981 Live in Nakano Sun-Plaza Tokyo Japan (2CD)

Mr. Peach Recording: 4th May 1981, Nakano Sun-Plaza,Tokyo Japan

Famous Tapers Mr. Peach

Source:

Famous Tapers # 2: Mr. Peach

What can you say about all these fantastic recordings Mr. Peach worked so hard to capture? I’ll leave it with an all encompassing “Holy cow!” Words fail when taking it all in. Just the cost and logistics of recording all over Japan must have been very high. And then all this for an amazing collection he never seems to have shared for decades.

There were two kinds of tapers. Those that traded their tapes relatively soon after the shows and those that did not until an opportunity presented itself decades later “Mr. Peach”. He was/is a Tokyo resident, which I already knew based on the concert listing I had collected (49 shows recorded at the Budokan alone, so far). He is also the only taper I have known to smuggle in more than one recording device and come out with two recordings from the same concert. Did he have someone helping him? I wonder how strict security was in those days and what the policy was in regards to bringing in recording equipment. If anyone knows more about him, do leave a comment.

I have compiled a list of all known Mr. Peach recordings as of December 31st, 2013 (supposedly he has around 300 masters?) with quality comments from collectorsmusicreviews.com added. They might get a bit tedious after a while but I believe they add enough information to make it worthwhile. (The often somewhat daft) Name of CD title in brackets; it was not my goal to promote the CD bootleg label that has ‘contracted’ his master tapes, these were just added for reference purposes. Their release policy mirrors that of the early and mid-1970s Japan bootleg vinyl releases, which were usually limited to around 200 copies.

Overall, his recordings tend to be very loud and “in your face”. He still seems to have been at the mercy at whatever seat he could get once tickets went on sale, so I doubt he was connected to Udo Presents or another concert promoter but many of his recordings have littel intrusion from other patrons sitting close by. I also doubt he wrote for Music Life or some other publication and ad a professional reason to go to these concerts.

Mr. Peach hit his stride and a first peak in 1976 with the excellent documentation series of the Neil Young and Rainbow tours and just kept going, still dependent on the position of his seat in the arenas, of course, until changes in how drums were miked and amplified via the PA introduced some extra distortion here and there but his recordings usually always come out on top.

From 1976 onwards, Mr. Peach used this Sony portable recorder:

and upgraded in the Spring of ’77 to the latest Technics model, the 686d:

SAXON Nakano Sun-Plaza, Tokyo – May 4th, 1981 (TOKYO 6:30PM) “…the recording is very clear, powerful and loud. At times it’s too loud that it distorts, but it is generally very enjoyable…”