The Fall Live - 1982

12/03/1982

Bristol  Polytechnic

In the repository - not yet reviewed 

19/03/1982

Palm Cove, Bradford

In the repository - not yet reviewed 

24/03/1982

Polytechnic

 Reviewed

Leicester

25/03/1982

Hammersmith Palais

 London

26/03/1982

Brunel Rooms, Swindon

27/03/1982

Polytechnic Manchester

01/04/1982

Nightmoves

Soundboard. Generally exceptional - a few problems with the mix in places.

Nirvana.....the heavenly state, not the scruffy types from Seattle....the 1982 band in pristine soundboard.

Its starts with a fledging and developing "Joker" - probably the third time played live - the core of the song is coming together but still farily raw. An excellent "Sideways" has the breath taken out of it by a tense and twisted version of "Hip Priest". Speed is recovered with a manic version of "C.B." taken at a hell of a lick.

Interesting that the drums are quite muted for the early section of "Deer Park" and the organ drives the rhythm. The only interjections being the manic fills at the end of each chorus - at about 1:30 though the full majesty of Burns/Hanley in full flow emerges as does the trademark Hanley bass burr. There is some great polyrhymic interplay at 3:30 and onwards with paradiddles galore. At about 5:00 there are some fantastic guitar noises - redolent of Derek Bailey at his height.

Mark asks for the music in the monitors to be turned down - sings the opening lines to "Pseud Mag" - asks someone "have you got any speed mate" and then performs what has to be one of the classic interpretations of same. Hellishly fast and groovy. Things calm down for a brusque reading of "Flat of Angles" - some good guitaring from Scanlon here. The early version of "Wings" is played at an exceptional speed with some amazing bass dexterity from Hanley.

"Nazis" is taken at a canter - more driven than usual with more than the usual tension between the drums and the chirpy guitar. "Solicitor" seems a little untogether in places and I guess is the fifth or sixth outing so not suprising the tune is still developing- there are some really cheesy keyboards in place and the band falters in parts. Conversely the also new "Hexen" is performed with some precision - albeit Smith slides the words around the structure.

Brutal violent uncompromising noise - the needles peak - the sound gets distorted and fractured. 13 minutes of this - the bastard offspring of Spooky Tooth, Vincent Crane, Black Sabbath and the Velvet Underground - intense repetition and unforgiving relentless driven music that has "no respite".

Second and last (?) version of "Town called Crappy" although on this version I think Mark says "Cranky" or "Crikey".... Mark laughs and says to the crowd "you don't even recognise our impersonations...." and then they finish with a muscular and muddled "Classical" with some very peculiar guitar playing.

Excellent record - band in strange form .... moving from spot on driven noise to cluttered and unstructured meandering at times -having said that an essential one to own.

Acknowledgements - Thanks to Dogomehl for making this available

Glasgow

Mark E. Smith - Vocals
Craig Scanlon - Guitar, Backing Vocals
Marc Riley - Guitar, Keyboards, Backing Vocals
Steve Hanley - Bass
Paul Hanley - Drums
Karl Burns - Drums

02/04/1982

Nite Club

Edinburgh

03/04/1982

Warehouse, Liverpool

In the repository - not yet reviewed 

09/04/1982

Effenaar, Eindhoven

In the repository - not yet reviewed 

10/04/1982

Paard van Troje, The Hague

In the repository - not yet reviewed 

12/04/1982

Vera Groningen

13/04/1982

De Doelen, Rotterdam

In the repository - not yet reviewed 

23/04/1982

North London Polytechnic

In the repository - not yet reviewed 

24/04/1982

Essex University

 In the repository - not yet reviewed

Colchester

25/04/1982

Top Rank

In the repository - not yet reviewed 

Reading

26/04/1982

Scamps Oxford

In the repository - not yet reviewed 

27/04/1982

Derby Hall

Bury

28/04/1982

Derby

In the repository - not yet reviewed 

29/04/1982

Vanburgh College

Poorly recorded audience. A lot of booming and microphone distortion. Gig is audible but the aforementioned noise detracts from the enjoyment. Sounds like it was recorded through a sock full of custard in places.

Hanley bass dominates in a vicious attack on "Look, Know" and the band continues in that vein throughout. Drums are driven and thumped hard - guitars are scraped, strangled and abused, vox is particular astringent and playful.

The usual fayre of this tour is dominated by the closing "Backdrop" which starts off as an unholy clash of instruments drawn together by the leaders laconic drawl and then obdurately hangs about for ten minutes to drive any last vestage of sanity from your already befuddled brain. The keening guitar sound that Scanlon/Riley exact from their instruments is particularly memorable as is the wonderfully atonal keyboard meandering from Mr Mark E Smith

Unfortunately not a great recording but given the unrelenting intensity at which the material is pitched is worth tracking down.

Acnowledgement - Zero Minute made this available

York

Mark E. Smith - Vocals Craig Scanlon - Guitar, backing vocals

Marc Riley - Guitar, Keyboards, backing vocals

Steve Hanley - Bass

Paul Hanley - Drums

Karl Burns - Drums, Bass

Look, Know (5:39)

Hip Priest (7:43)

Lie Dream of a Casino Soul (3:43)

Joker Hysterical Face (5:00)

The Classical (6:24)

Tempo House (7:13)

Solicitor in Studio >I'm into C.B. (9:59)

Mere Pseud Mag Ed (3:18)

Hexen Definitive (3:22)

Backdrop (10:15)

30/04/1982

Porterhouse

Very good audience tape. Some distant audience noise but nothing intrusive. Sound is clear and crisp and all instruments are well presented.

A breathtaking start with state subsidised cannabis haze moving reptilian in its all levelling routine in an exemplary tension/release exercise with tight driven percussion, jangling guitar and insouciant narration from his nibs. The tendency on this tour to worry the audience into dumbfounded acceptance with lengthy exercises in unmitigated Fall-ness with the opening number is a testament with the self-awareness of the group and its following. Tonight however the band goes the extra mile with an opening three number barrage which lasts an exhausting twenty five minutes. "Look Know" is taken at an exacting pace and is dominated by superb bass from Steve and some excellent Beefheartian licking from Craig - I'm not aware of another version of this song lasting as long as nearly 8 minutes! If that was not enough then there is a studied and intense, albeit langurous, ramble through "Tempo" lasting over 8 minutes which develops a funky affordability over some seriously industrial keyboard noise from Riley. At once alien and local with Hanley S throttling his Fender B into submission.

Probably the most complete live version of "Lie Dream" ever follows, exceptionally tight and full of joyous venom. Mind you "Pseud Mag" is not far behind with some sparky vocal work from Mark and intense playing from the boys. And then more pleasure with a great rendition of "Solicitor" - perhaps a little lethargic in the drum area - but generally something in the tone Steve is able to conjur from his bass transcends that small gripe. An intense and rewarding experience.

"Sideways" is similar wonderous. The Fall at their most complete and exacting. A thud-thud-thud of unstoppable rhythm counterpointed with bass n guitar laminal noise with the leader yelling uncompromisingly into the Nottinghamshire night. A chirpy and funky "C.B." is a masterpiece in rhythm from all players - the audience howls - the band plays with time and space and noise to create a menu of auditory wonderment. Mark passes a scabrous comment about museums before "Joker" which is its usual rolling and tumbling dance with pleasure/pain - this band could really dance when it tried especially when it was calling on Ted Rogers brain.

A slight reduction from the aural onslaught is provided with a measured and comparatively subtle reading of "Hexen" leading to an audience levelling 18 minutes of "And this day" which defies description and has to be heard to be believed.

Matters conclude with a tumble through "Container Drivers" which suffers from an indistinct vocal from Mark.

Retford

Mark E Smith - Vocals
Marc Riley - Guitar, Keyboards, Harmonica, Backing Vocals
Craig Scanlon - Guitar, Backing Vocals
Steve Hanley - Bass
Paul Hanley - Drums
Karl Burns - Drums, Bass

Intro (0:08)
Backdrop (9:36)
Look Know (7:53)
Lie Dream of a Casino Soul (4:15)
Mere Pseud Mag Ed (4:36)
Solicitor in Studio (7:44)
Just Step Sideways (3:30)
I'm into C.B. (7:06)
Joker Hysterical Face (5:16)
Hexen Definitive (4:02)
And this day (18:19)
The Container Drivers (3:27)

A massive 1 hour 24 minutes and 12 seconds

01/05/1982

University Southampton

In the repository - not yet reviewed 

02/05/1982

Jenkinsons, Kingswest, Brighton

03/05/1982

Band on the Wall

An excellent remaster of an original audience tape has been produced by "Eric". This is a very good quality audience recording by ScouseBob.

My first Fall gig. The first of a three night residency at Manchesters' (sadly now closed) premier jazz and new music night spot. The Look, Know/I'm into CB single had just been released and the band were coming close to the end of a long Winter/Spring tour of the UK.

My recollection of the gig

The place is packed. Heaving in fact. We manage to squeeze into one of the side seats on the left hand of the stage. Support is Purkurr Pilnikk who are feverishly manic and not in the least bit entertaining. We wait what seems like hours – rumours float of a band argument. In due course MES arrives with Kay and they decamp to the band room behind the bar. We wait. The anticipation is electric. The band troop on. The crunching riff of “Spectre vs Rector” kicks in, Scanlon and Riley’s deft interplay is a revelation. The drums build slowly. Craig lifts his best Beefheart licks but they are subtly different from the Captains. This last week “I’m into CB” has been released – we were not expecting material from so far back. The band demonstrate amazing dexterity on what I considered to be a simplistic track previously. On the second “faster” part the violence of the two drum line becomes apparent. New riffs emerge out the noise, Hanley brutalises his bass. The new single chugs in – Rileys microphone is not on for the opening chorus. The Fall are funky tonight and anyone not shaking their ass to this has no soul. This has gone beyond a “punk” band and into something new and exciting. A new song – rattling chords and a descending riff. The original version of “Wings” – stunning…..Belle Vue Arch instead of Ardwick Bridge. The riff on this is actually phenomenal and wonders why it was not used. Lie Dream is brutal, angry, sardonic. A last a track from Hex – “I took a walk down West Eleven…..” – hypnotic, rolling, intense, Smith a study in concentration, Riley layering organ washes over the tumbling riff. And again another unheard track – slow, menacing, heavy Hanley bass – “Mandrake Mandrax” – what the hell is this about then? Scattered imagery – “Winston Churchill, Jesus Christ in reverse”. This is Fall repetition at its most potent. Smith has a dig at the British Electric Foundation – we smile knowingly. Is that a mouth organ being played by Riley? Atonal keyboard washes – dubby drums at the conclusion. Kay tells Mark to tell Marc Riley to turn his keyboard off. Another new track – when will this end – a rolling riff – “Jokah Isterical Fa-ayce” – rollin’ and tumblin’ in Falla-billy land – this is sensuous and sexy. “Ted Rogers brains burn in hell” – this is so good it hurts. Smith captures the angst/boredom of the time and amplifies it with scathing one liners. They’ve been playing for 40 minutes and the time has flown by. Yet more new material – “Hexen Definitive” – in retrospect the version with Riley makes more sense than the stripped down version seen 12 months later at the Hacienda. The blues are evident as a root source here but a mutant North Manchester version with an attitude. There’s a swagger to this that got beaten out of it by the time it got to PBL. It slips into “I’m into CB” (no “Strife Knot” as questioned in the gigography). At last a track that we know – pure pop sounds interlaced with a growling Hanley bass, and motorik keyboard and drums. The pace of this band is amazing. Mark says “This is for all the people from South Yorkshire in the audience…congratulations for being here” and the band start another new song….a different take on the band – they’ve moved on from the stark stripped down sound of Hex to a full on riff laden rock oriented riff dominated noise. Fantastic. Finally another new riff…..crashing drums and cymbals, more keyboard washes, a shift in emphasis, declamatory vocals – more potent imagery – tales of the military and prison – scribbly little guitar figures. The bouncy bit, the tension and release, the dynamics are phenomenal. And then its over – just about an hour – surprisingly not a Hex Enduction Hour. Smith moves to the keyboard and starts to noodle as “Backdrop” concludes with almost VDGG like riffs. In retrospect amazing that Smith would want to strip this sound down several months later in the studio? – probably not knowing the history of the band. I doubt if this experience could be effectively captured in the anodyne atmosphere of a recording studio. A long break – obviously no encores – a lot of the crowd leave. However the Fall have a couple more tricks up their sleeve The band come back and perform a stunning “Just Step Sideways” – Hanley’s bass playing is masterful. Hardly a breath is taken and its into “Prole Art Threat” at a break-neck pace – speedy!!! Then its over. Just over 70 minutes of pure genius. I doubt if I will ever see a gig of its like again. Although I have seen the Fall a few times since this first gig there is nothing than can top its intensity in my experience. Quite simply the best gig I have ever been to.

Manchester 

Mark E Smith - Vocals
Marc Riley - Keyboards, Guitar, Backing Vocals
Craig Scanlon - Guitar, Backing Vocals
Steve Hanley - Bass , Backing Vocals
Paul Hanley - Drums
Karl Burns - Drums, Bass Guitar

Spectre vs. Rector
Look, Know
Wings (early version)
Lie Dream of a Casino Soul
Deer Park
Tempo House
Joker Hysterical Face
Hexen Definitive
I'm into C.B.
Solicitor in Studio
Backdrop
Just Step Sideways
Prole Art Threat

04/05/1982

Band on the Wall Manchester

In the repository - not yet reviewed 

05/05/1982

Band on the Wall Manchester

In the repository - not yet reviewed 

15/05/1982

Illuminated 666, Manchester

In the repository - not yet reviewed 

19/05/1982

Football Social Club Burnley

In the repository - not yet reviewed 

22/07/1982

Musicians Club, Sydney

29/07/1982

Geelong

In the repository - not yet reviewed 

30/07/1982

Jump Club, Collingwood, Melbourne

31/07/1982

Crystal Ballroom, Seaview Hotel

St Kilda

02/08/1982

Prince of Wales

A double CD of this gig was released on Voiceprint/Cog Sinister (COGVP108CD) in May 1998 entitled "Live to Air in Melbourne." Copies are readily available on the Internet. Sound quality is very good.

An excellent reminder of why this iteration of the band was so great live. A solid performance fortunately broadcast on the radio. What strikes from the start is the intricate interplay between Riley and Scanlon.

The first ever live performance of "I feel Voxish" kicks things of with fantastic "Magic Band" guitar licks from Scanlon and notable verbal dexterity from Smith.

Smith drives the band throughout - but particularly he is in full flow on "Hard Life in Country" playing with the words and giving a different feel to the version on "Room to Live". The reading of "Lie Dream" is taken at break-neck pace and each element is played perfectly. The majesty of Hanley's bass playing is given a full hearing on an extended "Tempo House".

A very speedy version of "The Classical" is slightly all over the place - with Smith laughing and quipping about the number of microphones - this is glorious in its dissonance and lack of structure.

A manic take on "Marquis Cha Cha" with Smith using a cod Spanish voice to introduce the song to "Hells Angels" and "fans of James Dean". Scanlon's guitar dexterity is brought to the fore. The version of the song is a little loose in places - not suprising as it was only first played live several days previous in Sydney.

The track listing on the CD goes a little awry after. The definitive listing is as above and the info on the CD shell and the CD itself should be ignored.

Riley's keyboards on "Deer Park" are a little too loud in the mix - revealing some timing oddities in the riff which I confess I had not heard before - and drowning out the guitar.

The infamous kazoo opens a fantastic "Totally Wired" with excellent guitar sound from Scanlon and Riley. Mixing problems dog a loping "Joker Hysterical Face" and the gig is rounded off by a wonderfully restrained and then intense version of "Hip Priest" - Smith plays with the words on this - excellent observations of life on the road in Australia.

There are a couple of live albums released from this tour of the Antipodes. There is not much between them. I would recommend buying both. ("Fall in a Hole" being the other)

Melbourne

Mark E Smith - Vocals, Kazoo, Keyboards
Marc Riley - Guitar, Keyboards, Kazoo, Backing Vocals
Craig Scanlon - Guitar, Backing Vocals
Steve Hanley - Bass
Paul Hanley - Drums
Karl Burns - Drums, Bass

I Feel Voxish (2:39)
Hard Life in Country (7:00)
I'm into C.B. (6:25)
Lie Dream of a Casino Soul (3:37)
Solicitor in Studio (6:10)
Tempo House (8:36)
The Classical (5:10)
Marquis Cha Cha (5:57)
Room to Live (4:33)
Hexen Definitive (4:12)
Deer Park (8:22)
Totally Wired (4:32)
Joker Hysterical Face (4:40)
Hip Priest (6:46)

Total Gig Length = 45:38 (Disc One) + 33:08 (Disc Two) = 88:46

 

05/08/1982

Prospect Hill Melbourne

In the repository - not yet reviewed 

06/08/1982

Mount Erica Hotel, Melbourne

In the repository - not yet reviewed 

10/08/1982

Trade Union Club

 In the repository - not yet reviewed

 Sydney

17/08/1982

University of Canterbury

 In the repository - not yet reviewed

 Christchurch

18/08/1982

Town Hall, Christchurch

 In the repository - not yet reviewed

 Christchurch

19/08/1982

Victoria University, Wellington

20/08/1982

Main Street

Soundboard. Very Good but some varying volume and tone but all instruments very clear. Occasional on stage feedback. The gigography advises that soundcheck tracks are available however these are not on the version I have. Two discs due to the length of the gig.

The night before the "In the Hole" official release.

I've marvelled on the majesty of this iteration of the band on more than one occasion so it will not suprise readers to know that I find this a marvellous but somewhat troubling listening experience. The penultimate gig on the Antipodean tour is dominated by the recent "Room to Live" and emerging "Perverted by Language" material.

This is a particularly intense gig. The bass and drums dominate but its Rileys keyboard swirls that tend to capture the imagination. The variation between the numbers is also marked. There is a definate shift between the dense repetition of "Tempo House" and the perky pop stylings of "Room to Live" - the only constant is Scanlons tense and gravelly rhythm guitar - albeit very low in the mix- as the band shifts method and tempo.

"Slates" seems particularly angry and lacks a little focus....seems like the band is almost getting tired with the two chord thrash. However the following "Marquis Cha Cha" is remarkably chipper by comparison with some particularly deft kazoo work and bubbling bass from Steve. The reading of "The Classical" follows a similarly intense path although the guitars seem a little distant and the some degree the inner rhythm of the song is lost in the changes.

A bouncy "Gramme Friday" is somewhat confused by what appear to be out of tune guitars and some lyrical fluffs. "CB" is handled well - the insistent rhythms driving a languid/laconic Smith vocal performance. "Voxish" suffers from distant guitars with the drums dominating and some riff errors/deviations. Similarly "Hexen", which relies on the guitar comping to move, it along is slightly marred by the low mix.

"Deer Park" builds and builds and builds initially into a frenetic nine and half minute tour de force with rock steady drums which unfortunately tends to lose its way towards the end. Smith politely asks for the lights to be turned down at one point in the song.

Encores include an excellent version of "Look Know", and absolutely superb "Container Drivers" which starts with Mark stating in a strange accent "On Friday we make admission" - most odd. It concludes with an oddly inchoate "Joker" and a truncated "Sideways" which really sound pretty good.

Some highs and some lows on this - not essential due to the fact the following night is officially released however enough variation to warrant investigation.

Acknowledge : thanks to the chap from Spain for this....

 Auckland

Mark E. Smith - Vocals, Kazoo
Craig Scanlon - Guitar , Vocals
Marc Riley - Guitar, Keyboards, Vocals
Steve Hanley - Bass
Paul Hanley - Drums
Karl Burns - Drums

 Soundcheck:

Joker Hysterical Face
Mere Pseud Mag Ed
The Classical
And This Day

Gig:

Solicitor in Studio (5:26)
Lie Dream of a Casino Soul (4:06)
Tempo House (8:27)
Room to Live (4:48)
Slates, Slags, etc. (8:13)
Marquis Cha-Cha (6:04)
The Classical (5:25)
Gramme Friday (3:45)
I'm into C.B. (6:37)
I Feel Voxish (5:14)
Hexen Definitive (4:14)
Deer Park (9:37)
Look, Know (7:32)
Container Drivers (3:40)
Joker Hysterical Face (4:31)
Just Step Sideways (0:58)

21/08/1982

Main Street, Auckland

In the repository - not yet reviewed 

18/09/1982

Athens

In the repository - not yet reviewed 

02/12/1982

Leadmill Sheffield

03/12/1982

The Warehouse

Goodish audience - a tad muffled/bassy in places and the instruments tend to over run the vox in places but generally very listenable.

Second outing for "Garden" and damn good it is too. A highlight opening piece in an end of year tour that would lead to the next big transition. The keyboard driven VU angle of the spring and Aussie escapades morphing inexorably into the spiky guitar and drum driven introspection of 1983 - exemplified by a jaunty "Hex/Knot". Indeed Marc's thin reedy organ sound on "Voxish" perhaps shifts the soundscape further to Craigs jangling guitar and Steve's penetrating bass lines.

Second outing also for the developing "Ludd Gang" which is visceral and Hanley S centric. Interesting to hear the song with keyboard lines. "Hard Life" feels a little lumpen amongst the rest of the set and there are some clashing guitar problems. "Cha Cha" feels a little rushed and i'm not sure it works, whereas the stripped down elegance of "Tempo" proves to be more focused and indeed relevant with breathtaking Fender B dexterity.

It has to be said in this context that "Man whose head" is more suited to this iteration of the band than the later Casio VL-Tone chitterings of 1983 with Riley producing a layer of sensuous noise under the developing song and Mark in fine form spitting out the words.

The band would exhume "Dice Man" twice for this tour and in retrospect its probably a mistake as it does not have the youthful garage exuberance of the Dragnet era and I think Mr Smith realises this by the end of the tune.

The contraintuitive disposition of a less than a 2 minute song with an amazing sub 11 minute version of "Backdrop" is perverse in the extreme - the langurous narration at complete odds to the preceding tune. This is massive and monstrous and probably one of the most memorable moments in Fall history - the complete and organic interaction between guitar, bass, drums and keys a revelation some 25 years later. Layers of sound interspersed with moments of light relief from Burns/Hanley P. Some amazing light and shade as the tension is released around Steve's bass and then the sound builds again in washes of cymbal white noise. This one performance defines and describes The Fall.

Another second reading of the new "Pilsner Trail" at a challenging plus 6 minutes. Some analysis required here as this feels like it has a slightly different structure to later readings - with Beefheartesque guitar structures. Some serious cow bell chittering going on here as well as some excellent repetition. All that being said the swing here is immense with the band pushing the envelope.

It closes with a wonderous "Solicitor".

A classic - pity about the recording which varies in quality throughout but in reality a gig any flare wearing Fall GFW should have in their collection.

Needs two CDs due to the length.

Liverpool

Mark E Smith - Vocals
Craig Scanlon - Guitar, Vocals
Marc Riley - Guitar, Keyboard, Vocals
Steve Hanley - Bass, Vocals
Paul Hanley - Drums
Karl Burns - Drums

Garden (6:30)
Room to Live (4:36)
Hexen-Definitive>Strife Knot (4:47)
I feel voxish(4:50)
Ludd Gang(3:11)
Hard Life in Country (6:50)
Marquis Cha Cha (6:11)
Tempo House (7:32)
The Man whose head expanded (3:46)
Dice Man (1:52)
Backdrop> Encore Call (14:40)
Mere Pseud Mag Ed (3:11)
Pilsner Trail> Encore Call (9:25)
Solicitor in Studio (5:56)


Total Length = 83:26
 

04/12/1982

University

Amazing. A stunning gig.

It kicks off with a proto version of "Garden" - significant musical differences from the final recorded version on "Perverted by Language" and then continues at a relentless pace. Crowned by excellent versions of "Deer Park", "Hard Life" and probably the most exacting if not exemplary version of "Backdrop" that this band played. There are not enough superlatives, adjectives or any other form of semantics to describe the magnificence of this performance.

Stunning versions of "Solicitor in Studio" and "The Man whose head expanded" demonstrate how powerful this band were. Not suprising then that Mr Smith should decide to strip it down some eight gigs later and remove the keyboard driven elements of the music.

An essential gig.

Thanks to Mike for the photos

Manchester

Mark E Smith - Vocals
Marc Riley - Guitar, Keyboards, Backing Vocals
Craig Scanlon - Guitar, Backing Vocals
Steve Hanley - Bass, Backing Vocals
Karl Burns - Drums, Bass
Paul Hanley - Drums

Garden (7:33)
Hexen Defenitive (5:48)
I feel Voxish (5:42)
Deer Park (7:48)
Hard Life in Country (7:27)
Ludd Gang (3;45)
Marquis Cha Cha (6:26)
Tempo House (8:18)
Room to live (4:43)
Backdrop (13:26)
Solicitor in Studio (5:45)
The Man whose head expanded (4;34)
Lie Dream of a Casino Soul (3:33)
Pilsner Trail (5:38)

Total gig length = Disc One (71:00) + Disc Tw0 (19:31) = 90:31 

07/12/1982

Riley Smith Hall Leeds

08/12/1982

Coventry Polytechnic

09/12/1982

Nottingham Trent Polytechnic

10/12/1982

North Staffordshire Poly , Stoke

12/12/1982

Lyceum

In the repository - not yet reviewed 

London 

22/12/1982

Lesser Free Trade Hall

In the repository - not yet reviewed 

Manchester