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    Thanks Steve - but on the greedbag site they say this is the way to solve the problem if you have a mac - mine is windows - and winzip doesn't want to know. Does Stuffit Expander works for Windows?
    Christmas has come early, thank you Dr.
    "Does Stuffit Expander works for Windows? "

    Not sure about that but I've used this free programme with Windows for zip files of eveything in the bootleg series so far with no problems:

    What I've done if the files haven't downloaded instantly is to just sell the mp3s as one zip file download that then repeat for the FLACs it might take an extra 90 seconds which is hardly the end of the world.

    As for unzipping them, it's worked perfectly ever time for me.
    No problems downloading, unzipping or converting from flac (MacBook Pro OS X, All2MP3). Pretty happy with the sound quality overall, I didn't have high expectations to begin with. Amsterdam is mostly covered previously via OTB, but I do think I prefer the former on a few tracks after one listen. The two gems for me are Poland (with a great mix of newer and older) and London which makes the whole package worthwhile to me. I sure wish there was more from that period. Very satisfied indeed!
    The 2009 show is certainly the highlight of this most recent 3-pack. The sound is magnificent and the (relatively) recent material is an added bonus. The Carre show is also definitely on the plus side of the fence; a great set list in decent sound.

    Of the three, I was looking forward to the 1991 WIR material the most. Since live WIR has not been issued as a legal bootleg before, and since there are no torrents from 1991 I am aware of, I thought this would be revelation. Instead it is probably the worst live album with the names Newman, Lewis and Gilbert on it. The live 1980s material always benefited from Robert's live drumming. In fact all of the live 1980s concerts are vastly better than their studio counterparts. Those concerts clearly demonstrate the material itself was not the problem, but rather, the cold studio drum programming. The first thing I became aware of when first listening to the 1991 show is it virtually showcases the drum programming and it ruins the otherwise great and catchy tunes. Glad to have it though as it a historical oddity, but it's too tedious for frequent play.

    Postscript: As usual, a friend and fellow subscriber provided me with what Greedbag could not... the 2009 show. Since there is ALWAYS a problem with each new batch of legal bootlegs, this will be my last subscription. Hell, I have still not received my official email announcement and only learned they were available due to reading this posting board. In any event, my friend routinely provides me with the new releases, not Greedbag (the worst download service on the planet).
    After a single listen, I'm surprised to find that the Carre show is the one I like the best of the three, even tho I've heard plenty of boots from the period. While I agree that the quality of the 2009 recording is fantastic, the performance itself feels rather flat to me. Maybe I'm allowing my prejudice against O47 to bleed thru, but the show lacks the spark that we've seen, especially for the last two albums. Perhaps my opinion will improve on subsequent listens—I certainly won't be giving up on it just yet. And the Wir gig, the one I was most excited to hear, is, well, yeah, I'll just echo what specotron said. I'm pleased that it was released but it seems a rare example where the studio experience improves on the material. As ever, RG's absence proves how vital he was/is.
    I think most people would agree (including the band themselves) that the 2009 touring line-up wasn't exactly the tightest sounding line-up of Wire. Lots of miscues and the O47 never really translated well to live performances. I saw a number of shows during this tour so it's nice to have as a souvenier. I will say that the scrappier sounding "Silk Skin Paws" from this tour is my favorite version of the song.
    Without having heard it since I was actually in the room 20-odd years ago, I'll need to download the Wir gig to engage fully in the debate. But, as noted previously, I'm of the opinion it's the best gig I've ever seen.

    I like drum machines. To say the 1980s concerts are vastly better then the studio counterparts is total guff.
    I like the clattery, angular sound of the live Wir stuff—it's an interesting contrast to the largely smooth album. Mind you, I'm still of the opinion it would be very interesting to see So and Slow live, but with Rob doing the drums for it. One of my favourite Wir(e) tracks, but lacking in Robness.
    Any chance of putting more fuller descriptions on the website: tracklistings etc

    Fuller listings for what? The new bootlegs? They'll go up during the next update (as per the other album pages), or did you mean something else?
    Thanks Craig
    as much as i like hibernian from the manscape tour, and some of this wir gig ia superb, its a crying shame that all we have from the sheffield manscape gig are the four tracks with the italian cd/bk. the quality of that gig is unbeatable. i spoke to mark b a while bk abt this and apparently the full gig and the recorder of it can't be traced.
    "Hey! you with the yellow shirts!"

    I really like the Poland 2009 gig. It sounds like quite a lively night. I wonder if the security guards Wire are trying to call off early on inspired "Move! You're blocking my view.." etc from Please Take? I really enjoy what Matt brings to Wire and he does nail that 'Wire' guitar sound, but here Wire with Margaret have a certain minimalism which I rather like. The crowd are chanting for 12XU and get it, was it planned? I'm not sure it was, it sounds more like the 12TimesU version anyway.

    The 1991 gig proably loses a lot in translation as a relatively lo-fi audience recording but neverthless it's very useful to have as a reference and a vital missing jigsaw piece. It's probably the furthest Wire ever got from their original sound and ironic that just as "Wir" were trying to erase all trace of Wire Mk1 elsewhere in North London Blur, Elastica et al were preparing to launch their reimagining of the Pink Flag/Chairs Missing sound on the unuspecting public. What also strikes me is how uniquely un-dancecable Wire managed to be in spite of using all the tools and sounds of dance music.

    Not listened to the Carre show in full yet but it sounds mighty fine, and perhaps gives the lie to the Roxy tour being a disaster as the crowd seem to be enjoying everything Wire can throw at them. (edit...just listened to the end...OK the Roxy fans do sound a bit restless toward the end!)
    Nice to read the above comments: they tie in both with my listening experiences of the current batch and with my opinions too - Poland is just hugely enjoyable! The energy of the performance comes over. You know what it's like to hear Wire and have a big grin on your face..
    Would have been good to be at the 1991 performance: how much was pre-recorded, how much played?
    Regarding wir,blur and the buckets gig in 91 that was video'd. The passing of 22 years has dulled my recollections but I can say this. I went to the blur support gig, I don't recall it being at the Mean Fiddler. wir were awful, there were no buckets, most of the audience (blur fans) saluted wir's conclusion of their set with raised two fingers of unappreciation. I agreed and gave up on wire in disgust after 12 years. I left before blur came on much to my eternal regret.

    I didn't go to any bucket gigs and if the video'd gig was the only blur support gig then it wasn't the one I was at or it wasn't the blur support gig.

    Can any wire historian shed some light on this?
    The Wir support gig with Blur was with buckets and videoed by me.
    The only other gig I saw was Mean Fiddler and buckets were used too but to less effect on a small stage.
    Am suprised at comment of 91 gig being lo fi audience recording as the mixing desk tape from said gig was passed to me after the gig by Piquet who mixed the gig. I subsequently sent a copy to Colin
    Kevin, it is described as 'an audience recording' on the Bootleg Series page. Certainly doesn't sound like a sound desk tape to me, maybe it's not the same tape you had, or maybe the engineer recorded it to air not direct from the desk.