PEARL JAM's "OFFICIAL BOOTLEG" LIVE ALBUMS (2000--2014)

Pearl Jam's "Official" bootleg albums are a large and continually growing series of live-in-concert discs that the band began producing to provide a more-affordable and better-quality product than the illicit "black market" albums being sold to their fans. The band has reportedly sold more than 3.5 million copies of the various shows since launching the bootleg project in 2000.

EUROPE CONCERTS 2000
Released: September 26, 2000

• 1 5/23/00, Estádio do Restelo, Lisbon, Portugal
• 2 5/25/00, Palau Sant Jordi, Barcelona, Spain (Catalonia)
• 3 5/26/00, Velodromo de Anoeta, San Sebastian, Spain (Basque Country)
• 4 5/29/00, Wembley Arena, London, England
• 5 5/30/00, Wembley Arena, London, England
• 6 6/1/00, The Point Theatre, Dublin, Ireland
• 7 6/3/00, SECC, Glasgow, Scotland
• 8 6/4/00, Manchester Evening News Arena, Manchester, England
• 9 6/6/00, Cardiff International Arena, Cardiff, Wales
• 10 6/8/00, Palais Omnisports de Paris-Bercy, Paris, France
• 11 6/9/00, Rock am Ring, Nürburg, Germany
• 12 6/11/00, Rock im Park, Nuremberg, Germany
• 13 6/12/00, Pinkpop, Landgraaf, Netherlands
• 14 6/14/00, Paegas Arena, Prague, Czech Republic
• 15 6/15/00, Spodek, Katowice, Poland
• 16 6/16/00, Spodek, Katowice, Poland
• 17 6/18/00, Residenzplatz, Salzburg, Austria
• 18 6/19/00, Hala Tivoli, Ljubljana, Slovenia
• 19 6/20/00, Arena di Verona, Verona, Italy
• 20 6/22/00, FILA Forum Arena, Milan, Italy
• 21 6/23/00, Hallenstadion, Zurich, Switzerland
• 22 6/25/00, Wuhlheide, Berlin, Germany
• 23 6/26/00, Alsterdorfer Sporthalle, Hamburg, Germany
• 24 6/28/00, Sjöhistoriska Museet, Stockholm, Sweden
• 25 6/29/00, Spektrum, Oslo, Norway

NORTH AMERICAN CONCERTS 2000
Released: February 27, 2001

• 26 8/3/00, GTE Virginia Beach Amphitheater, Virginia Beach, Virginia
• 27 8/4/00, Blockbuster Pavilion, Charlotte, North Carolina
• 28 8/6/00, Greensboro Coliseum, Greensboro, North Carolina
• 29 8/7/00, Philips Arena, Atlanta, Georgia
• 30 8/9/00, Mars Music Amphitheatre, West Palm Beach, Florida
• 31 8/10/00, Mars Music Amphitheatre, West Palm Beach, Florida
• 32 8/12/00, Ice Palace, Tampa, Florida
• 33 8/14/00, New Orleans Arena, New Orleans, Louisiana
• 34 8/15/00, Pyramid Arena, Memphis, Tennessee
• 35 8/17/00, AmSouth Amphitheater, Antioch, Tennessee
• 36 8/18/00, Deer Creek Music Center, Noblesville, Indiana
• 37 8/20/00, Riverbend Music Center, Cincinnati, Ohio
• 38 8/21/00, Polaris Amphitheater, Columbus, Ohio
• 39 8/23/00, Jones Beach Amphitheater, Wantagh, New York
• 40 8/24/00, Jones Beach Amphitheater, Wantagh, New York
• 41 8/25/00, Jones Beach Amphitheater, Wantagh, New York
• 42 8/27/00, Saratoga Performing Arts Center, Saratoga Springs, New York
• 43 8/29/00, Tweeter Center Boston, Mansfield, Massachusetts
• 44 8/30/00, Tweeter Center Boston, Mansfield, Massachusetts
• 45 9/1/00, Blockbuster Music Entertainment Centre, Camden, New Jersey
• 46 9/2/00, Blockbuster Music Entertainment Centre, Camden, New Jersey
• 47 9/4/00, Merriweather Post Pavilion, Columbia, Maryland
• 48 9/5/00, Post-Gazette Pavilion, Pittsburgh, Pennsylvania

NORTH AMERICAN CONCERTS 2000 Released: March 27, 2001 49 10/4/00, Molson Centre, Montreal, Quebec, Canada 50 10/5/00, Air Canada Centre, Toronto, Ontario, Canada 51 10/7/00, The Palace of Auburn Hills, Auburn Hills, Michigan 52 10/8/00, Alpine Valley Music Theatre, East Troy, Wisconsin 53 10/9/00, Allstate Arena, Rosemont, Illinois 54 10/11/00, Riverport Amphitheater, Maryland Heights, Missouri 55 10/12/00, Sandstone Amphitheater, Bonner Springs, Kansas 56 10/14/00, Cynthia Woods Mitchell Pavilion, The Woodlands, Texas 57 10/15/00, Cynthia Woods Mitchell Pavilion, The Woodlands, Texas 58 10/17/00, Smirnoff Music Centre, Dallas, Texas 59 10/18/00, United Spirit Arena, Lubbock, Texas 60 10/20/00, Mesa Del Sol Amphitheatre, Albuquerque, New Mexico 61 10/21/00, Desert Sky Pavilion, Phoenix, Arizona 62 10/22/00, MGM Grand Arena, Las Vegas, Nevada 63 10/24/00, Greek Theatre, Los Angeles, California 64 10/25/00, San Diego Sports Arena, San Diego, California 65 10/27/00, Selland Arena, Fresno, California 66 10/28/00, Blockbuster Pavilion, Devore, California 67 10/30/00, Sacramento Valley Amphitheater, Marysville, California 68 10/31/00, Shoreline Amphitheatre, Mountain View, California 69 11/2/00, Rose Garden Arena, Portland, Oregon 70 11/3/00, Idaho Center, Nampa, Idaho 71 11/5/00, KeyArena, Seattle, Washington 72 11/6/00, KeyArena, Seattle, Washington

AUSTRALIA / JAPAN CONCERTS 2003

• 1 2/8/03, Brisbane Entertainment Centre, Brisbane, Australia
• 2 2/9/03, Brisbane Entertainment Centre, Brisbane, Australia
• 3 2/11/03, Sydney Entertainment Centre, Sydney, Australia
• 4 2/13/03, Sydney Entertainment Centre, Sydney, Australia
• 5 2/14/03, Sydney Entertainment Centre, Sydney, Australia
• 6 2/16/03, Adelaide Entertainment Centre, Adelaide, Australia
• 7 2/18/03, Rod Laver Arena, Melbourne, Australia
• 8 2/19/03, Rod Laver Arena, Melbourne, Australia
• 9 2/20/03, Rod Laver Arena, Melbourne, Australia
• 10 2/23/03, Burswood Dome, Perth, Australia
• 11 2/28/03, Izumity 21, Sendai, Japan
• 12 3/1/03, Pacifico Yokohama, Yokohama, Japan
• 13 3/3/03, Nippon Budokan, Tokyo, Japan
• 14 3/4/03, Kosei Nenkin Kaika, Osaka, Japan
• 15 3/6/03, Nagoyashi Kokaido, Nagoya, Japan

NORTH AMERICAN CONCERTS 2003

• 16 4/1/03, Pepsi Center, Denver, Colorado
• 17 4/3/03, Ford Center, Oklahoma City, Oklahoma
• 18 4/5/03, Verizon Wireless Amphitheater, San Antonio, Texas
• 19 4/6/03, Cynthia Woods Mitchell Pavilion, The Woodlands, Texas
• 20 4/8/03, UNO Lakefront Arena, New Orleans, Louisiana
• 21 4/9/03, Oak Mountain Amphitheater, Pelham, Alabama
• 22 4/11/03, Sound Advice Amphitheater, West Palm Beach, Florida
• 23 4/13/03, St. Pete Times Forum, Tampa, Florida
• 24 4/15/03, Alltel Pavilion at Walnut Creek, Raleigh, North Carolina
• 25 4/16/03, Verizon Wireless Amphitheater, Charlotte, North Carolina
• 26 4/18/03, AmSouth Amphitheater, Antioch, Tennessee
• 27 4/19/03, HiFi Buys Amphitheatre, Atlanta, Georgia
• 28 4/21/03, Rupp Arena, Lexington, Kentucky
• 29 4/22/03, Savvis Center, St. Louis, Missouri
• 30 4/23/03, Assembly Hall, Champaign, Illinois
• 31 4/25/03, Gund Arena, Cleveland, Ohio
• 32 4/26/03, Mellon Arena, Pittsburgh, Pennsylvania
• 33 4/28/03, First Union Spectrum, Philadelphia, Pennsylvania
• 34 4/29/03, Pepsi Arena, Albany, New York
• 35 4/30/03, Nassau Coliseum, Uniondale, New York
• 36 5/2/03, HSBC Arena, Buffalo, New York
• 37 5/3/03, Bryce Jordan Center, University Park, Pennsylvania

• 38 5/28/03, Adams Fieldhouse, University of Montana-Missoula, Missoula, Montana
• 39 5/30/03, GM Place, Vancouver, British Columbia, Canada
• 40 6/1/03, Shoreline Amphitheatre, Mountain View, California
• 41 6/2/03, Verizon Wireless Amphitheatre, Irvine, California
• 42 6/3/03, Verizon Wireless Amphitheatre, Irvine, California
• 43 6/5/03, San Diego Sports Arena, San Diego, California
• 44 6/6/03, MGM Grand Arena, Las Vegas, Nevada
• 45 6/7/03, Cricket Pavilion, Phoenix, Arizona
• 46 6/9/03, Smirnoff Music Centre, Dallas, Texas
• 47 6/10/03, Alltel Arena, Little Rock, Arkansas
• 48 6/12/03, Verizon Wireless Amphitheater, Bonner Springs, Kansas
• 49 6/13/03, Mid-America Center, Council Bluffs, Iowa
• 50 6/15/03, Fargodome, Fargo, North Dakota
• 51 6/16/03, Xcel Energy Center, Saint Paul, Minnesota
• 52 6/18/03, United Center, Chicago, Illinois
• 54 6/21/03, Alpine Valley Music Theater, East Troy, Wisconsin
• 55 6/22/03, Verizon Wireless Music Center, Noblesville, Indiana
• 56 6/24/03, Polaris Amphitheater, Columbus, Ohio
• 57 6/25/03, DTE Energy Music Theatre, Clarkston, Michigan
• 58 6/26/03, DTE Energy Music Theatre, Clarkston, Michigan
• 59 6/28/03, Molson Amphitheatre, Toronto, Ontario, Canada
• 60 6/29/03, Bell Centre, Montreal, Quebec, Canada
• 61 7/1/03, Nissan Pavilion, Bristow, Virginia
• 62 7/2/03, Tweeter Center Boston, Mansfield, Massachusetts
• 63 7/3/03, Tweeter Center Boston, Mansfield, Massachusetts
• 64 7/5/03, Tweeter Center at the Waterfront, Camden, New Jersey
• 65 7/6/03, Tweeter Center at the Waterfront, Camden, New Jersey
• 66 7/8/03, Madison Square Garden, New York, New York
• 67 7/9/03, Madison Square Garden, New York, New York
• 68 7/11/03, Tweeter Center, Mansfield, Massachusetts
• 69 7/12/03, Hersheypark Stadi

NORTH AMERICAN CONCERTS 2005 1 9/1/05, The Gorge, George, Washington 2 9/2/05, General Motors Place, Vancouver, British Columbia, Canada 3 9/4/05, Pengrowth Saddledome, Calgary, Alberta, Canada 4 9/5/05, Rexall Place, Edmonton, Alberta, Canada 5 9/7/05, Credit Union Centre, Saskatoon, Saskatchewan, Canada 6 9/8/05, MTS Centre, Winnipeg, Manitoba, Canada 7 9/9/05, Fort William Gardens, Thunder Bay, Ontario, Canada 8 9/11/05, Memorial Auditorium, Kitchener, Ontario, Canada 9 9/12/05, John Labatt Centre, London, Ontario, Canada 10 9/13/05, Copps Coliseum, Hamilton, Ontario, Canada 11 9/15/05, Bell Centre, Montreal, Quebec, Canada 12 9/16/05, Corel Centre, Ottawa, Ontario, Canada 13 9/19/05, Air Canada Centre, Toronto, Ontario, Canada 14 9/20/05, Colisee Pepsi Arena, Quebec City, Quebec, Canada 15 9/22/05, Metro Centre, Halifax, Nova Scotia, Canada 16 9/24/05, Mile One Stadium, St. John's, Newfoundland, Canada 17 9/25/05, Mile One Stadium, St. John's, Newfoundland, Canada 18 9/30/05, Borgata Events Center, Atlantic City, New Jersey 19 10/1/05, Borgata Events Center, Atlantic City, New Jersey 20 10/3/05, Wachovia Center, Philadelphia, Pennsylvania

LATIN AMERICAN CONCERTS 2005

• 21 11/22/05, Estadio San Carlos de Apoquindo, Santiago, Chile
• 22 11/23/05, Estadio San Carlos de Apoquindo, Santiago, Chile
• 23 11/25/05, Ferrocarril Oeste Stadium, Buenos Aires, Argentina
• 24 11/26/05, Ferrocarril Oeste Stadium, Buenos Aires, Argentina
• 25 11/28/05, Gigantinho Gymnasium, Porto Alegre, Brazil
• 26 11/30/05, Pedreira Paulo Leminski, Curitiba, Brazil
• 27 12/2/05, Pacaembu, São Paulo, Brazil
• 28 12/3/05, Pacaembu, São Paulo, Brazil
• 29 12/4/05, Apoteose, Rio De Janeiro, Brazil
• 30 12/7/05, Auditorio Coca Cola, Monterrey, Mexico
• 31 12/9/05, Palacio de los Deportes, Mexico City, Mexico
• 32 12/10/05, Palacio de los Deportes, Mexico City, Mexico

NORTH AMERICAN CONCERTS 2006 1 5/9/06, Air Canada Centre, Toronto, Ontario, Canada 2 5/10/06, Air Canada Centre, Toronto, Ontario, Canada 3 5/12/06, Pepsi Arena, Albany, New York 4 5/13/06, New England Dodge Music Arena, Hartford, Connecticut 5 5/16/06, United Center, Chicago, Illinois 6 5/17/06, United Center, Chicago, Illinois 7 5/19/06, Van Andel Arena, Grand Rapids, Michigan 8 5/20/06, Quicken Loans Arena, Cleveland, Ohio 9 5/22/06, Palace of Auburn Hills, Detroit, Michigan 10 5/24/06, TD Banknorth Garden, Boston, Massachusetts 11 5/25/06, TD Banknorth Garden, Boston, Massachusetts 12 5/27/06, Tweeter Waterfront, Camden, New Jersey 13 5/28/06, Tweeter Waterfront, Camden, New Jersey 14 5/30/06, MCI Center, Washington, D.C. 15 6/1/06, Continental Airlines Arena, East Rutherford, New Jersey 16 6/3/06, Continental Airlines Arena, East Rutherford, New Jersey

• 17 6/23/06, Mellon Arena, Pittsburgh, Pennsylvania
• 18 6/24/06, US Bank Arena, Cincinnati, Ohio
• 19 6/26/06, Xcel Energy Center, Saint Paul, Minnesota
• 20 6/27/06, Xcel Energy Center, Saint Paul, Minnesota
• 21 6/29/06, Marcus Amphitheatre, Milwaukee, Wisconsin
• 22 6/30/06, Marcus Amphitheatre, Milwaukee, Wisconsin
• 23 7/2/06, Pepsi Center, Denver, Colorado
• 24 7/3/06, Pepsi Center, Denver, Colorado
• 25 7/6/06, MGM Grand, Las Vegas, Nevada
• 26 7/7/06, Cox Arena, San Diego, California
• 27 7/9/06, The Forum, Inglewood, California
• 28 7/10/06, The Forum, Inglewood, California
• 29 7/13/06, Santa Barbara Bowl, Santa Barbara, California
• 30 7/15/06, Bill Graham Civic Auditorium, San Francisco, California
• 31 7/16/06, Bill Graham Civic Auditorium, San Francisco California
• 32 7/18/06, Bill Graham Civic Auditorium, San Francisco California
• 33 7/20/06, Arlene Schnitzer Concert Hall, Portland, Oregon
• 34 7/22/06, The Gorge Amphitheatre, George, Washington
• 35 7/23/06, The Gorge Amphitheatre, George, Washington

EUROPE CONCERTS 2006 36 8/23/06, The Point, Dublin, Ireland 37 8/25/06, Leeds Festival, Leeds, England 38 8/27/06, Reading Festival, Reading, England 39 8/29/06, Gelredome, Arnhem, Netherlands 40 8/30/06, Sportpaleis, Antwerp, Belgium 41 9/1/06, Pavello Olimpic de Badalona, Barcelona, Spain 42 9/2/06, Azkena Rock Festival, Vitoria, Spain 43 9/4/06, Pavilhao Atlantico, Lisbon, Portugal 44 9/5/06, Pavilhao Atlantico, Lisbon, Portugal 45 9/7/06, Palacio de Deportes, Madrid, Spain 46 9/9/06, Le Dome de Marseille, Marseille, France 47 9/11/06, Bercy, Paris, France 48 9/13/06, Bern Arena, Bern, Switzerland 49 9/14/06, PalaMalaguti, Bologna, Italy 50 9/16/06, Arena di Verona, Verona, Italy 51 9/17/06, Forum, Milan, Italy 52 9/19/06, Palaisozaki, Torino, Italy 53 9/20/06, Duomo Square, Pistoia, Italy 54 9/22/06, Sazka Arena, Prague, Czech Republic 55 9/23/06, Wuhlheide, Berlin, Germany 56 9/25/06, Stadthalle, Vienna, Austria 57 9/26/06, Dom Sportova, Zagreb, Croatia 58 9/30/06, OAKA Sports Hall, Athens, Greece

AUSTRALIA / HAWAII CONCERTS 2006

• 59 11/7/06, Acer Arena, Sydney, Australia
• 60 11/8/06, Acer Arena, Sydney, Australia
• 61 11/10/06, Entertainment Center, Brisbane, Australia
• 62 11/11/06, Entertainment Center, Brisbane, Australia
• 63 11/13/06, Rod Laver Arena, Melbourne, Australia
• 64 11/14/06, Rod Laver Arena, Melbourne, Australia
• 65 11/16/06, Rod Laver Arena, Melbourne, Australia
• 66 11/18/06, Acer Arena, Sydney, Australia
• 67 11/19/06, Newcastle Entertainment Centre, Newcastle, Australia
• 68 11/21/06, Adelaide Entertainment Centre, Adelaide, Australia
• 69 11/22/06, Adelaide Entertainment Centre, Adelaide, Australia
• 70 11/25/06, Subiaco Oval, Perth, Australia
•  71 12/2/06, Blaisdell Center, Honolulu, Hawaii

NORTH AMERICA CONCERT 2008

• 1 6/11/08, Cruzan Amphitheatre, West Palm Beach, Florida
• 2 6/12/08, St. Pete Times Forum, Tampa, Florida
• 3 6/14/08, Bonnaroo, Manchester, Tennessee
• 4 6/16/08, Colonial Center, Columbia, South Carolina
• 5 6/17/08, Verizon Amphitheatre, Virginia Beach, Virginia
• 6 6/19/08, Susquehanna Bank Center, Camden, New Jersey
• 7 6/20/08, Susquehanna Bank Center, Camden, New Jersey
• 8 6/22/08, Verizon Center, Washington, D.C.
• 9 6/24/08, Madison Square Garden, New York, New York
• 10 6/25/08, Madison Square Garden, New York, New York
• 11 6/27/08, Dodge Amphitheater, Hartford, Connecticut
• 12 6/28/08, Comcast Center, Mansfield, Massachusetts
• 13 6/30/08, Comcast Center, Mansfield, Massachusetts

NORTH AMERICA / AUSTRALIA / NEW ZEALAND CONCERT 2009

• 1 8/8/09, Virgin Festival, Calgary, Alberta, Canada
• 2 8/11/09, Shephard’s Bush Empire, London, England
• 3 8/13/09, Sportspaleis Ahoy, Rotterdam, Netherlands
• 4 8/15/09, Wuhlheide, Berlin, Germany
• 5 8/17/09, Manchester Evening News Arena, Manchester, England
• 6 8/18/09, O2 Arena, London, England
• 7 8/21/09, Molson Amphitheatre, Toronto, Ontario, Canada
• 8 8/23/09, United Center, Chicago, Illinois
• 9 8/24/09, United Center, Chicago, Illinois
• 10 8/28/09, Outside Lands Festival, Golden Gate Park, San Francisco, California
• 11 9/21/09, KeyArena, Seattle, Washington
• 12 9/22/09, KeyArena, Seattle, Washington
• 13 9/25/09, GM Place, Vancouver, British Columbia, Canada
• 14 9/26/09, Clark County Amphitheare, Ridgefield, Washington
• 15 9/28/09, E Center, Salt Lake City, Utah
• 16 9/30/09, Gibson Amphitheater, Universal City, California
• 17 10/01/09, Gibson Amphitheater, Universal City, California
• 18 10/04/09, Austin City Limits Music Fest, Austin, Texas
• 19 10/06/09, Gibson Amphitheater, Universal City, California
• 20 10/07/09, Gibson Amphitheater, Universal City, California
• 21 10/09/09, San Diego State University, Viejas Arena, San Diego, California
• 22 10/27/09, Wachovia Spectrum, Philadelphia, Pennsylvania
• 23 10/28/09, Wachovia Spectrum, Philadelphia, Pennsylvania
• 24 10/30/09, Wachovia Spectrum, Philadelphia, Pennsylvania
• 25 10/31/09, Wachovia Spectrum, Philadelphia, Pennsylvania
• 26 11/14/09, Member Equity Stadium, Perth, Australia
• 27 11/17/09, Adelaide Oval, Adelaide, Australia
• 28 11/20/09, Etihad Stadium, Melbourne, Australia
• 29 11/22/09, Sydney Football Stadium, Sydney, Australia
• 30 11/25/09, QSAC Stadium, Brisbane, Australia
• 31 11/27/09, Mt Smart Stadium, Auckland, New Zealand
• 32 11/29/09, AMI Stadium, Christchurch, New Zealand

NORTH AMERICA CONCERTS 2010 1 5/1/10, New Orleans Jazz and Heritage Festival, New Orleans, Louisiana 2 5/3/10, Sprint Center, Kansas City, Missouri 3 5/4/10, Scottrade Center, St. Louis, Missouri 4 5/6/10, Nationwide Arena, Columbus, Ohio 5 5/7/10, Verizon Wireless Amphitheatre Indiana, Noblesville, Indiana 6 5/9/10, Quicken Loans Arena, Cleveland, Ohio 7 5/10/10, HSBC Arena, Buffalo, New York 8 5/13/10, Jiffy Lube Live, Bristow, Virginia 9 5/15/10, XL Center, Hartford, Connecticut 10 5/17/10, TD Garden, Boston, Massachusetts 11 5/18/10, The Prudential Center, Newark, New Jersey 12 5/20/10, Madison Square Garden, New York, New York 13 5/21/10, Madison Square Garden, New York, New York

EUROPE CONCERTS 2010

• 14 6/22/10, The 02, Dublin, Ireland
• 15 6/23/10, Odyssey Arena, Belfast, Northern Ireland
• 16 6/25/10, Hyde Park, London, England
• 17 6/27/10, Goffertpark, Nijmegen, Holland
• 18 6/30/10, Wuhlheide, Berlin, Germany
• 19 7/1/10, Heineken Open'er Festival, Gdynia, Poland
• 20 7/3/10, Town Square, Arras, France
• 21 7/4/10, Werchter Festival, Werchter, Belgium
• 22 7/6/10, Heineken Jammin' Festival, Venice, Italy
• 23 7/9/10, BBK Live Festival, Bilbao, Spain
• 24 7/10/10, Alges, Oeiras, Portugal

CANADA CONCERTS 2011 1 9/7/11, Montreal 2 9/11/11, Toronto 3 9/12/11, Toronto 4 9/14/11, Ottawa 5 9/15/11, Hamilton 6 9/17/11, Winnipeg 7 9/19/11, Saskatoon 8 9/21/11, Calgary 9 9/23/11, Edmonton 10 9/25/11, Vancouver

SOUTH AMERICA CONCERTS 2011

• 11 11/3/11, Sao Paulo, Brazil
• 12 11/4/11, Sao Paulo, Brazil
• 13 11/6/11, Rio De Janeiro, Brazil
• 14 11/9/11, Curitiba, Brazil
• 15 11/11/11, Porto Alegre, Brazil
• 16 11/13/11, Buenos Aires, Argentina
• 17 11/16/11, Santiago, Chile
• 18 11/18/11, Lima, Peru
• 19 11/20/11, San Jose, Costa Rica

EUROPE CONCERTS 2012 1 6/20/12, Manchester Arena, Manchester, England 2 6/21/12, Manchester Arena, Manchester, England 3 6/23/12, Isle of Wight Festival, Isle of Wight, England 4 6/26/12, Ziggo Dome, Amsterdam, Netherlands 5 6/27/12, Ziggo Dome, Amsterdam, Netherlands 6 6/29/12, Rock Werchter, Werchter, Belgium 7 6/30/12, Main Square Festival, Arras, France 8 7/2/12, O2 Arena, Prague, Czech Republic 9 7/4/12, O2 World Berlin, Berlin, Germany 10 7/5/12, O2 World Berlin, Berlin, Germany 11 7/7/12, Ericsson Globe, Stockholm, Sweden 12 7/9/12, Spektrum, Oslo, Norway 13 7/10/12, Forum, Copenhagen, Denmark

NORTH AMERICA CONCERTS 2012

• 14 9/21/12, Deluna Festival, Pensacola, Florida
• 15 9/22/12, Music Midtown, Atlanta, Georgia
• 16 9/30/12, Adams Center, Missoula, Montana

SOUTH AMERICA CONCERTS 2013 1 3/31/13, Lollapalooza Brazil, Sao Paulo, Brazil 2 4/3/13, El Festival Mas Grande, Buenos Aires, Argentina 3 4/6/13, Lollapalooza Chile, Santiago, Chile

NORTH AMERICA CONCERTS 2013

• 4 10/11/13, Consol Energy Center, Pittsburgh, Pennsylvania
• 5 10/12/13, First Niagara Center, Buffalo, New York
• 6 10/15/13, DCU Center, Worcester, Massachusetts
• 7 10/16/13, DCU Center, Worcester, Massachusetts
• 8 10/18/13, Barclays Center, Brooklyn, New York
• 9 10/19/13, Barclays Center, Brooklyn, New York
• 10 10/21/13, Wells Fargo Arena, Philadelphia, Pennsylvania
• 11 10/22/13, Wells Fargo Arena, Philadelphia, Pennsylvania
• 12 10/25/13, XL Center, Hartford, Connecticut
• 13 10/27/13, 1rst Mariner Arena, Baltimore, Maryland
• 14 10/29/13, John Paul Jones Arena, Charlottesville, Virginia
• 15 10/23/13, Time Warner Cable Arena, Charlotte, North Carolina
• 16 11/1/13, Voodoo Festival, New Orleans, Louisiana
• 17 11/15/13, American Airlines Center, Dallas, Texas
• 18 11/16/13, Chesapeake Energy Arena, Oklahoma City, Oklahoma
• 19 11/19/13, Jobing.com Arena, Phoenix, Arizona
• 20 11/21/13, Viejas Arena, San Diego, California
• 21 11/23/13, LA Sports Arena, Los Angeles, California
• 22 11/24/13, LA Sports Arena, Los Angeles, California
• 23 11/26/13, Oracle Arena, Oakland, California
• 24 11/29/13, Rose Garden, Portland, Oregon
• 25 11/30/13, Spokane Arena, Spokane, Washington
• 26 12/2/13, Scotiabank Saddledome, Calgary, Alberta, Canada
• 27 12/4/13, Rogers Arena, Vancouver, British Columbia, Canada
• 28 12/6/13, Key Arena, Seattle, Washington

NEW ZEALAND / AUSTRALIA CONCERTS 2014 1 1/17/14, Big Day Out, Western Springs Stadium, Auckland, New Zealand 2 1/19/14, Big Day Out, Metricon Stadium, Gold Coast, Australia 3 1/24/14, Big Day Out, Flemington Racecourse, Melbourne, Australia 4 1/26/14, Big Day Out, Sydney Fairgrounds, Sydney, Australia 5 1/31/14, Big Day Out, Bonython Park, Adelaide, Australia 6 2/2/14, Big Day Out, Arena Joondalup, Perth, Australia

EUROPE CONCERTS 2014

• 7 6/16/14, Ziggo Dome, Amsterdam, Netherlands
• 8 6/17/14, Ziggo Dome, Amsterdam, Netherlands
• 9 6/20/14, San Siro Stadium, Milan, Italy
• 10 6/22/14, Nereo Rocco Stadium, Trieste, Italy
• 11 6/25/14, Stadthalle, Vienna, Austria
• 12 6/26/14, Wuhlheide, Berlin, Germany
• 13 6/28/14, Friends Arena, Stockholm, Sweden
• 14 6/29/14, Telenor Arena, Oslo, Norway
• 15 7/3/14, Open'er Festival, Gdynia, Poland
• 16 7/5/14, Wock Werchter Festival, Werchter, Belgium
• 17 7/8/14, First Direct Arena, Leeds, UK
• 18 7/11/14, Milton Keynes Bows, Milton Keynes, UK

"THE FAIRMONT SINGERS: OREGON's FINE FOLKIES" (1962)

THE AMERICAN FOLK MUSIC boom of the 1950s gained even more momentum as the 1960s dawned. Young new groups formed all across the land, and the Northwest saw its fair share of spirited kids singing and recording traditional tunes. Among those scoring notable recording deals were The Group (Golden Crest Records) from Olympia, the Brothers Four (Columbia Records) from Seattle, the Chad Mitchell Trio (Colpix, and Kapp Records) from Spokane, and the Travelers 3 (Elektra Records) from Eugene, Oregon.

Then there was the Fairmont Singers who originally formed as high schoolers, and having been inspired by hometown heroes, the Travelers 3, they carried on into their college years at Eugene’s University of Oregon. The band’s lineup solidified as: Dave Ellington (vocals, guitar), Hal Ayotte (tenor vocals, tenor guitar), Terry Tillman (banjo), & Rob Mills (vocals, bass). In the summer of ’61 they scored a two-week gig at the famous Ice House folk club in Pasadena, California, where they struck a chord with the discerning audiences and their contract was extended to a whole month.

During that time one of the most successful late-‘50s folk/pop pioneers, Jimmie Rodgers (of Camas, Washington) – whose tunes like 1957’s “Honeycomb” and “Kisses Sweeter Than Wine” had became international hits – discovered, and then began mentoring the group. The Fairmont Singers were suddenly opening concerts and nightclub gigs for Rodgers, including a home-coming show on April 28, 1962 – the Folk Music ’62 event at UO’s Mac Court venue (with a concert at 7:30 pm, and a dance at 9:30 pm).

Along the way Rodgers began producing the band’s recording sessions for the same label he was currently with, Dot Records. They cut a dozen tunes – including “This Land Is Your Land” which Woody Guthrie had written during his days in the Northwest. The end result was their 1962 album, Jimmie Rodgers Presents the Fairmont Singers [Dot DLP 3439 / 25439] – which is a fairly scarce unit today. The album’s content consisted of these tunes:

• “900 Miles”
• “Copper Kettle”
• “Man Who Shot Liberty Valance”
• “Cockles and Mussels”
• “Bull Run”
• “Pastures of Plenty”
• “This Land Is Your Land”
• “Billy Don’t Play the Banjo”
• “Cindy, Oh Cindy”
• ”Shiloh”
• “I’m Just A Country Boy”
• “Sweet Mary Jo”

 Text copyright ©, 2014, Peter Blecha

"THE FABULOUS HAMMERS: PIKESVILLE" (2009)

SO WHERE IN THE WORLD, exactly, did these Fabulous Hammers pop up from?

Well, right here in Seattle of course – and if you would just listen to the rock band's stunning brand new disc you wouldn't be asking such silly questions.

The Hammers boast an enviably slinky '60s vibe that unmistakably harkens directly back to the heyday of the original "Northwest Sound." Talk about a regional rock 'n' roll time-warp! The original compositions contained on the Fab Ham's new 14-song disc reveal a remarkable fluency in the musical language developed in this region four decades ago by such influential local players as the Dave Lewis Trio, Frantics, Wailers, Playboys, Dynamics, Viceroys, and Imperials. Song-by-song, one can detect sly and skillful aural homages to some of the finest instrumental rock songs produced in the Pacific Northwest between 1959 and 1965. 

But far from just "borrowing" specific riffs or "quoting" previous hits, the Hammers instead evoke the entire musical milieu that was forged by the first generation of teenaged Northwest rockers. Laced throughout the 14-song disc are the requisite oomphs of an electric organ, the traditional saxophone squawking, the rockin' garage/jazz guitar lines (informed by innovations pioneered back in the day by aces with names like Coryell, Dangle, Nokie, Olason, and Johansen) – all anchored by reams of driving bass-work, snappy snare-drumming, and sizzling cymbals.

Such standout tunes as "Late Last Night," "4 Quarts of Soul," "Pikesville," and "Wasabi" (think "Tequila"), are no mere museum-pieces -- and, Hey: I like museums! -- or simple-minded salutes to bygone days of Northwest glory. Instead, this band is a living testament to the timeless power embodied by a regional strain of rock 'n' roll whose original moment in the sun was, shall we say, unfortunately shaded by other Hollywood-led music biz priorities (Fabian & Annette Funicello anyone?!?). Rather than attempting to recreate a long-gone day, these guys successfully resurrect the best elements of a music-form still held in great esteem by many fans -- but they do it with a modern sensibility and the full-on energy of today. Major kudos go out to the band for this Pikesville disc: Fred Slater (organ), L.A. Berger (sax), Tom King (guitar), Ronaldo (bass), and Steve Howell (drums).

Like the old saw goes: "If the only tool you have is a hammer – everything starts to look like a nail." And, man, do these pounding Fabulous Hammers ever nail it!!!

[NOTE: An edited version of this May, 2009, essay was previously published by The Bluesletter Magazine.]

Copyright ©, 2009, Peter Blecha

"THE SQUIRRELS: SCRAPIN' FOR HITS" (1996)

IF NIRVANA'S MASSIVE MAINSTREAM SUCCESS was -- as the pundits claimed -- the ultimate validation for all the underground punk rock that had come moshing down the pike since the Sex Pistols, then the same correlation ought to be made with the mid-90's radio hits of Seattle's comedic popsters the Presidents Of The United States Of America, and that band's spiritual forebears and musical mentors, Seattle's Mighty Squirrels.

And even though the Presidents' wacky tunes may seem to be a left-field twist on the dark, heavy, sexy, "Grunge rock" that Seattle bands have come to be pegged with in recent years- that wiggy sense of humor is certainly nothing new around these parts. Although having a high humor quotient goes against certain trends in the modern post-punk world, the noble quest for goofy musical yuks can in fact be traced way, way back...

Hell, I suppose a case could be made that the humor impulse is actually a particular sub-strain of this region's rock traditions. Indeed, even some of the most revered early Northwest bands had their nutty moments. For example the Ventures' debut 45 from 1959- "The Real McCoy"- features the combo doing a bizarre "Tequila"-esque tune replete with impersonations of that beloved-but-crotchety old TV star Walter Brennan grousing about those despicable rock ‘n’ roll drumbeats. And even the Northwest's tuffest garage-rockin' punks, the Sonics, released their mindless "Village Idiot" recording circa `65. So, who sez you can't rock out and be silly simultaneously?

Certainly not the irrepressible Rob Morgan who has based his whole existence on this precept.

The teenaged Morgan fled home in Edmonds, Washington in 1977 and settled into his notorious rocker flophouse in the U-District with other human flotsam who would soon be forming seminal Seattle punk bands including the U-Men and the Look. Morgan's "first band,"The Fishsticks, were a motley crew who became infamous for throwing frozen seafood at their audience. And is if that wasn't enough, Morgan has persisted over the years with a string of bands with increasingly zany names including the Pudz, the Pamona Boners, and, for over two decades now: the Squirrels.

All of these bands featured Morgan's patented cartoon-quality vocal stylings, beyond-eclectic song repertoires, and a penchant for using costumes, dolls, bubble machines, and large-scale props in their stage shows. It has been Morgan's innate sense of the absurd that helped forge bands which managed to cross-pollinate bubblegum sensibilities with punk attitudes. His first "successful" band, The Pudz, were equal parts 1910 Fruitgum Company tributes, Alice Cooper-inspired horror rock, and black leather punk. What other way to explain the Pudz' seemingly schizoid debut 45: here was an original-yet-instantly-classic Martian Invasion Era punk tune, "Take Me To Your, (Leader)", coupled with a flipside cover of that horrid `60s pop ditty, "Take A Letter, Maria". SHEESH!

Who's in charge here? Why, Rob Morgan of course.

Anyway, The Pudz' A-side got airplay support on Seattle's first New Wave station KZAM, sold out at local record shops, and was later revived on the 1981 "Seattle Syndrome" compilation LP. All of this was quite an accomplishment considering that this modest level of success was as close as one got to having a "hit" during a period when Seattle bands couldn't score if their lives were at stake. Of course, true to the real "Seattle Syndrome", just about the time that the Pudz' tune was picked up by Rodney Bingenheimer at KROQ in LA sparking a few calls of interest from Atlantic Records, the band broke up.

Another interesting aspect of all this is that Morgan's bands' weren't alone in reviving long-lost pieces of pop trash like "Quick Joey Small" and "Yummy Yummy Yummy (I Got Love In My Tummy)". It was back around the dawn of the New Wave in the late `70s/early `80s that Seattle's U-District became the center of an offbeat, wacky school of rock as defined by a slew of fun-lovin' bands including the Frazz, the Dynette Set, the Acoustinauts, Mondo Vita, the Power Mowers, the Young Fresh Fellows, Prudence Dredge, and: the Mighty Squirrels. This then was the parallel universe where the music of the Monkees, Bay City Rollers, and Herman's Hermits was held in far higher regard than, say, Led Zeppelin, Hendrix, or Cream. Get the picture yet?

In the early `80s Morgan formed Ernest Anyway and the Mighty, Mighty Squirrels with backup by members of the new Young Fresh Fellows band. When YFF's album was touted in Rolling Stone and the guys needed to focus on their own thing, Morgan quickly recruited a few new members including veterans of the Frazz and Prudence Dredge (most notebly guitarist Joey Kline, who has pretty much been with the band ever since). Rechristening the band New Age Urban Squirrels, they quickly learned their first song- a Who-style/parody version of Billy Joel's "Just The Way You Are." OUCH!

Over the years, and with an ever-revolving cast of castoffs contributing, Morgan's ever-evolving musical vehicle was booked at clubs and concerts throughout the Northwest under various ridiculous monikers including The Squirrels Group `87 (AKA Crosby, Squirrels, and Nate), Ron Voyage and the New Squirrels, the 23 Squirrel Five, and the Squirrels Live Unit. Over the years Morgan's bands have shared the stage with headliners including Iggy Pop, The Dickies, 999, Jonathan Richman, Dread Zeppelin, the Wallflowers, Roy Loney, The Sweet, the Village People, Mojo Nixon, and the Pleasure Barons.

On the collectables front Morgan's bands have issued numerous LPs, CDs, 45s, cassettes, etc., including the psychotic "Oz On 45" disc (the b-side of which featured members of The Posies on a surprisingly straight reading of "Alone Again (Naturally)"). Interestingly enough, the record won by popular vote the 1989 Northwest Area Music Association's Best Single award, beating out competition including Mudhoney's "Touch Me, I'm Sick"...they've really done it all.

What they don’t have is a legitimate big-time hit.

This is what it has all come down to: Either the public rewards Morgan & Co. with a damn hit or else. Let's leave no room for doubt: if the band's latest CD (whatever it may be) doesn't jump-start Morgan's musical career, why he's just liable to... to... well, knowing Rob, I suppose that he'll up & record some more musical insanity just like he's always done. Whether or not Morgan finally scores as a result of his efforts is anybody's guess. What is certain is that Rob Morgan will have the last laugh.

He can't help himself: he's having too much fun...

(This essay originally appeared as liner notes to PopLust's CD.)

Copyright ©, 1996, Peter Blecha

"THE ULTIMATE SONICS" (1990)

THE SONICS WERE THE UNHOLY PRACTIONERS of punk rock long before anyone knew what to call it. But that's not to say that certain parents in the Pacific Northwest didn't try to come up with a few choice words for the band and their primitive and brutally raucous sound.

Originally cut in 1964 and '65 the recordings offered here represent nothing less than some of the very rawest and most savage rock music yet achieved by mankind.

The Sonics aggressive aural attack was due in equal measure to the perfectly chaotic lead guitar spasms of Larry Parypa, the murderous screams that serve as vocal lines as patented by Gerry Roslie, the frenzied propulsion generated by Rob Lynn (sax) and Andy Parypa (bass) and the absolutely atomic tub thumping of Bob "Boom Boom" Bennett. These five bad-boys were strictly lewd, rude and crude.

Not only did the Sonics come up with killer riffs on a regular basis but their song's lyrical content relentlessly explored the full range of topics from satanic threats ("He's Waitin’"), to evil chicks ("The Witch"), to the joys of overdosing on toxic substances ("Strychnine") to disturbing mental states ("Psycho"). And all this in the name of fun.

The Sonics helped fuel a vibrant teen dance scene that also included other such notable Northwest combos as the Frantics, the Kingsmen, Paul Revere & the Raiders, the Ventures, Don & the Goodtimes, the Viceroys, the Counts, the Dynamics, and of course the one band that overshadowed virtually all of them - the Fabulous Wailers.

Inspired by the Wailers' success, the Sonics formed in 1963 on the north side of Tacoma, Washington, in the heart of Boeing country. "We got our name from the sonic boom made by the jets," Andy once recalled. "It seemed natural."

The young band's first gigs were the usual, teen sock-hops and skating rink parties, and on occasion threw their own dances before finding work at places such as Evergreen Ballroom, Pearl's in Bremerton and of course the Spanish Castle Ballroom on old Highway 99

Although they maintained the standard 5-piece lineup (sax, keys, guitar, bass, drums) and they did share with many other local bands a common core of the Northwest standards in their repertoire, the Sonics simply transcended any possible limitations erupting with a tough and unprecedented new sound. It took a good year for the Sonics reputation to take hold, but then came the day when the Wailers' bassist, Buck Ormsby, out scouting for talent for their label happened to cross paths with our boys. "They were practicing in Bob Bennett's basement," Ormsby recalled in 1985. "I was looking for something that was different, something that would rock my socks off. I went down and saw them, and I found it. I liked the guitar because it sounded dirty, and I liked Gerry because he was such a screamer."

As producer, and co-producer with Kent Morrill, Ormsby's greatest challenge was to capture on tape, by whatever means necessary, the raw power and sinister essence of ths unique quintet. And he didn't give a damn what it took to accomplish this. In this quest they must have irked the poor studio staff to no end. The band members began by tearing down half the egg cartons that lined the ceiling and walls in one studio, "to get a liver sound." They then proceeded to push every piece of the studio's ancient gear well past reasonable limits. By redlining the deck's VU meters and overloading every tube in every old amp in the place the Sonics found their sound. "We had a hell of a time with the engineers," says Ormsby. "They just weren't used to the full energy stuff. You have to remember that the state of the recording industry in 1964 was something less than crude. We kept saying we wanted to do this or that and they kept saying you can't do that. We didn't care if it bled - I wanted to hear sweat dripping on the tape."

Hey, it bled. It sweated. And it was the most gloriously primitive din you were ever lucky enuff to hear on your transistor radio.

That first single, The Witch, charted within weeks on a few brave but minor local radio stations, but not on KJR the region's dominant Top-40 giant. Led by DJ Pat O'Day the station was clearly ignoring the single. Kids kept requesting "The Witch", so Pat started playing it on KJR and the place went nuts". Charting on KJR's fabulous 50 gave it a real boost and before long "The Witch" was breaking out in scattered radio markets including Orlando, Pittsburg, upstate New York, and San Francisco. "The Witch" became the all time best selling local rock single in Northwest history. Andy once revealed, "O'Day later told me that eventually the song had reached #1 in sales, but the station policy said it was too far-out to chart at #1." The station only played it after kids got out of school because of the station management's fears of alienating the housewives that comprised KJR's daytime audience.

1965 was a wild year for the Sonics. These were the glory days for Northwest Rock in general and for the Sonics in particular. By 1966 the band had opened shows for many top acts including the Beach Boys, Jan & Dean, Jay & the Americans, Ray Stevens, Herman's Hermits, the Righteous Brothers, the Kinks, and the Lovin' Spoonful

In '66 the Sonics signed with Seattle's Jerden label which released a handful of uneven recordings that received national distribution through ABC Records, but regrettably they just never did score that one big international smash hit. But then, their’s was a specialty market, a finite potential audience, perhaps an acquired taste.

The Sonics remained a top draw at local dances right into 1967 when they broke their last sound barrier and folded. The Sonics will forever be revered for their solid proto-punk contributions to the sixties. They rocked like bastards and one imagines to this day that their name alone might send high school principals and small town police chiefs running for cover.

Three chords, two tracks, and one hell of a band: THE SONICS!


[NOTE:  This essay was also published as liner-notes to the Sonics' 1993 British CD Psycho-Sonic (Big Beat CDWIKD 115) & again in 1997 with a re-issue CD]

Text copyright © 1990, Peter Blecha

"NORTHWEST BATTLE of the BANDS: Vol. I" (2001)

AT EASE TROOPS: Resting in your hands is the first volume of Ace Records’ mighty Battle of the Bands compilation sets of prime vintage rock ‘n’ roll from the Pacific Northwest. And though this CD series is new, the tradition that it is named for dates well back in time and was, for example, already established in the jazz world at least as far back as the Roaring ‘20s. Needless-to-say, of course, decades later when some rock ‘n’ rollers got ahold of the idea, the stakes were raised considerably.
 
Regional Band Championships, in which legions of local bands battled for supremacy, were first promoted as part of Seattle’s (and then Portland’s and Spokane’s) Teen Fair events in the mid-‘60s. The strategic objective for young musicians – other than a chance at winning the attentions of girls – was to capture some of the array of spoils being offered, chief among them being a genuine recording contract with the happenin’ local label that had recently launched the Kingsmen’s infamous “Louie Louie” 45 from the Northwest into an international phenomenon.Indeed, this entire Ace Records CD series is based on the prodigious output of Jerry Dennon’s Seattle-based Jerden family (e.g. Panorama, Piccadilly) of labels – a consortium that released many additional radio hits and contributed more than any other firm in the promotion of Northwest rock.

It seems worthwhile to ponder for a moment here the notion that a staged musical skirmish’s ultimate purpose is probably similar to that of certain competitive sports, that is, as one of modern culture’s ritualized forms of warfare – a way to blow off steam. But even though bloodshed and wanton pillaging have been relatively rare at such rock ‘n’ roll rumbles, the battles have not all been without consequence. One extreme example is documented by a notorious mid-‘60’s “Grudge Match” poster (Mr. Lucky & the Gamblers vs. the Redcoats) which proclaimed that the losing local band would suffer what was undoubtedly then considered to be the most horrendous punishment imaginable: the public shaving of their heads! Wow -- wasn’t that outlawed by the Geneva Convention?


Witnesses recall that competition among the scores of teen combos engaged in the ‘65 Battle was particularly fierce – Hey! Tell the truth: How would you, tenderfoot, like to have had to square off against such battle-hardened vets as the Sonics, Live Five, Bandits, Dynamics, Liberty Party, Counts, Bards, Dimensions, City Limits, Mercy Boys, Don & the Goodtimes, George Washington & the Cherrybombs, and Mr. Lucky & the Gamblers? – but, when the drums were stilled, the dust settled, and the smoke had finally cleared, the first Battle of the Bands! compilation LP honored the victorious combatants.

Similarly, the ’66 battle rewarded the top-ranked combos (the Kingsmen, Sonics, Bards, Live Five, Magic Fern, Brave New World, London Taxi, Bumps, Springfield Rifle, Breakers, PH Phactor Jug Band, Don & the Goodtimes, and the Rock Collection) with inclusion on the second Battle of the Bands! volume. The champion band that year was Seattle’s Jack Horner & the Famous Plums who also scored both an old-fashioned trophy and a then-cutting-edge electric 12-string guitar before slipping into obscurity.

Because Dennon’s labels documented this region’s musical evolution from the earliest original “Northwest Sound” instrumental years, up through the garage rock heyday and well into the psychedelic sixties era, his Master Tape vaults are still capable of providing significant surprises. And so, Ace is proudly able to offer here, for the first time anywhere, a good number of previously unissued discoveries that offer ten-megaton proof of the power of one region’s take-no-prisoners rock ‘n’ roll traditions…and a sound that continues to storm the barricades and conquer hearts around the world.

(This essay originally appeared as liner notes to the CD issued by Ace Records.)