1983/04/01 East Rutherford, NJ AUD

Tom Petty & The Heartbreakers – Lowe – Carrack : The Lostbrook Tape Series – Volume 20

I was so obsessed with progressive rock that I paid little attention to the rise
of Tom Petty and foolishly missed opportunities to see him perform in smaller venues.
Pettyís genius could no longer be ignored as he continued to pile up the hits, finally
dragging me out of my ìone story townî for the Long After Dark tour. Recorded and
photographed from fifth row center.

April 1, 1983
Brendan Byrne Arena
East Rutherford, NJ
USA

Recording Equipment: Internal Mic – Sanyo tape deck – TDK SD C90 – Alesis TapeLinkUSB – Audacity – WAV
Taper: Lostbrook
Mastering: CQ

01 Introduction
02 A One Story Town
03 Listen To Her Heart
04 A Thing About You
05 You Got Lucky
06 I Need To Know
07 Don’t Do Me Like That
08 Here Comes My Girl
09 Change Of Heart
10 The Waiting
11 Hang On Sloopy
12 Straight Into Darkness
13 American Girl
14 A Woman In Love
15 Kings Road
16 Breakdown
17 Refugee
18 Anything That’s Rock And Roll
19 Even The Losers

Opening: Nick Lowe – Paul Carrack

20 Cheers
21 Lesson In Love
22 Stick Where The Sun
23 Tempted
24 Cool To Be Kind
25 Saint Beneath The Paint
26 So Right So Wrong
27 Ragin Eyes
28 Cool Reaction
29 How Long
30 Burning
31 I Need You
32 I Knew The Bride

Tapers Story:

I first became enchanted by live performances after talking my way into the taping of
Dick Cavettís Woodstock Show on August 18, 1969 at WABC studios in New York. This was
quite an accomplishment for an eleven-year-old without a ticket. My first major concert
was The Rolling Stones at Madison Square Garden on July 25, 1972. I was so impressed with
the enormity of that event that I jumped at the chance to acquire some of the vinyl bootlegs
from the Exiles on Main Street tour. These recordings surely planted a seed in my mind, but
unfortunately, I waited over 25 concerts before attempting my first recording in late

  1. Over the next ten years, I recorded approximately 125 concerts in the New York City
    area. In 1985, I moved to Virginia and recorded sporadically, accumulating a few dozen shows
    in the Washington DC area over the next 15 years.

My motive for taping has always been selfish. I simply wanted to enjoy the performances over
and over again. I didnít realize that I was recording both musical and personal history or that
I was witnessing the high-water mark of progressive music. I thought it would last forever, but
in the back of my mind, I must have known that I had something special. With one or two exceptions
that I later regretted, I refused to trade tapes. Very few friends were ever given copies. I have
never considered selling them ñ I have too much respect for the artists. I protected my tapes for
decades, never knowing what to do with them as they sat dormant on a shelf. In 2010, I found the
time to make digital transfers of my tapes and rediscovered the amazing moments I had recorded. I
also found an answer: I needed to get these tapes to my friends that were with me, whose history I
had also captured, and to others who would appreciate this collection.

My equipment was low-tech but yielded surprisingly good results. Almost all of my recordings prior
to 1989 were made with the built-in condenser mic on a Sanyo desktop cassette recorder (model unknown).
When the unit began to fail in 1977, I replaced it with what I thought was a better recorder, but the
tapes were distorted. I quickly purchased a new Sanyo that was identical to my first and never again
attempted an upgrade. In 1989, I bought a smaller, Walkman-type unit ñ a Panasonic RX-SR29, which
performed nicely with its condenser mic. I was never interested in producing soundboard-quality
tapes, and was almost always happy with my ìsouvenirs.î I used TDK tapes initially, then Maxell.

Recording a concert was always an adventure. Through trial and error, I arrived at the following procedure:
To get past the ticket-takers, I wore loose pants and stuffed the recorder down the front where the odds of
being frisked were minimal. I wore a loose t-shirt or sweatshirt to cover the ìbulgeî and held my breath. The
dead batteries and cheap tape I kept in the recorder were occasionally confiscated, but my friends were already
inside with the real supplies. Once inside, I would meet my friends and exchange the batteries and tape. We had
excellent seats for many concerts, but that put us in close proximity to ushers and stage security. We needed to
be in a constant state of vigilance, and we were also busy with the timing of the tape-flips. I would occasionally
take photographs with a cheap camera, which gave me additional equipment to juggle. Without fail, someone in my
row would be in the wrong seat, and an usher would have to sort it out. It was all I could do to keep the recorder
hidden without covering the microphone. It was always chaotic, but the reward was great as we listened to the
concert again on the way home.

Iím indebted to all those who assisted and inspired me along the way: Gary, Steve, and Paul/Rich, Rob,
and Paul/John, Sue, Al, and Rich/Jody, Laurie, Danny, and Martha/Geri and Allison/Howie and Linda/Kathryn. Thanks
to Mike for all of his efforts. Most of all, thanks to my family ñ K, M, E, and B ñ for their support and patience.

You are cordially invited to enjoy these time capsules. There is always room for one more in our row, but
if we are loud or talkative, please donít judge us too harshly. We were swept away by the magic of the moment,
and we hope you will be too.

Lost Brook
January 2011

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