A couple of Galaxie 500 recordings currently on dimeadozen
A couple of rarely circulated Galaxie 500 recordings are currently being shared on Dimeadozen. You’ll need a Dimeadozen account to download these.
The first of which is a soundboard recording of the band at CBGBs in December 1988 - it’s been around a bit so isn’t crystal clear but for a nice early recording from shortly after the release of Today. The end of the tape also included a couple of studio outtakes, the fast version of Ceremony I’ve previously shared in a better sounding (but lossy) version, but the other track I’m not sure I’d ever heard before.
This was a benefit for See Hear, Ted Gottfried’s East Village basement zine-devoted shop over on East 7th Street, that had all of its inventory go awash in a flood. Mike McGonigal, who put out the zine Chemical Imbalance, was one of the employees, and he was the one who organized this benefit. Kramer was one of the members of B.A.L.L., and his connection to Galaxie was that he of course owned and operated Noise New York where he was the producer and engineer for all of the band’s recorded output before their breakup. He also recorded the Sonic Youth set this night which was mixed by Wharton Tiers, so there’s no reason to believe he didn’t also record this board tape.
The second recording is a really good audience recording from their last European tour.
Philipshalle, unlike the other small club recordings that have been shared so far in this series, had a seating capacity of 7,500 or so – probably 25 times the size of those other venues. Taking that into consideration, this is yet another magnificent recording. There’s a certain inescapable hollowed arena reverb but it plays up the atmospheric shoegazery of the band to full effect and expands it out into this much wider vista here. Being the sixth to last ever show they’d play in Europe, the short performance is something rather fierce and it’s up for debate whether that is a result of more polished playing over time or tensions within the band, but likely both. Hardly any flaws here, perhaps one could nitpick about some chatter over the quiet beginning of the Yoko song. The louder parts of that song almost evoke “Machine Gun” from the Band of Gypsys live at the Fillmore East with some Paul Kossoff licks thrown in for good measure.