Front, inlays and tray from the Glass CD
Front, inlays and tray from the Genius CD
Front, inlays and tray from the Fire CD
Front, inlays and tray from the Taang CD
Inlays from the Genius and Fire cassettes

SONIC BOOM vocals, guitar, organ
JASON vocals, guitar
BASSMAN bass vibrations
S. ROSWELL percussion

Releases and Tracklistings
Released on Glass Records, July 1988. LP (GLALP 030), CD (GLACD 030).

  1. Mary-Anne (Glen Campbell)
  2. Come Together (MC5)
  3. Things’ll Never Be The Same (Kember/Pierce)
  4. Take Me To The Other Side (Kember/Pierce)
  5. Rollercoaster (Hall/Erikson)
  6. Starship (MC5/SunRa, arr. Kember/Pierce)
  7. Walkin’ With Jesus (Kember/Pierce)

Reissued on Genius Records, date unclear but probably 1989. CD (geniCD 006), MC (geniMC 006). The cassette has the same tracklisting as the Glass issue, while the CD adds:

  1. O.D. Catastrophe (Kember/Pierce)
  2. Feel So Good (Kember/Pierce)

8 is from Sound Of Confusion. 9 is from the Walkin’ With Jesus single, and fades in to remove any trace of the cross-fade with ‘Rollercoaster’.

Reissued on Fire Records, April 1991. LP (REFIRE 11), CD (REFIRE CD 11), MC (REFIRE MC11), all with the same tracklisting as the Glass edition. Various other LP issues on Fire, some on 180 gram vinyl, with the catalogue number changed to FIRELP040 or sfire040-1. CD reissued on Fire in 2009 with a gatefold sleeve and the catalogue number changed to SFIRE040CDE.

Reissued on Taang! Records, February 1996. CD (TAANG! 95), with a tracklisting that I presume is the entire gig, sequenced correctly, with the extra tracks taken from Threebie 3.

  1. Mary Ann (Glen Campbell)
  2. Come Together (MC5)
  3. Things’ll Never Be The Same (Kember/Pierce)
  4. Take Me To The Other Side (Kember/Pierce)
  5. Rollercoaster (Hall/Erikson)
  6. Walking With Jesus (Kember/Pierce)
  7. Repeater (Kember)
  8. Starship (MC5/SunRa, arr. Kember/Pierce)
  9. Revolution (Kember)
  10. Suicide (Kember/Pierce)

Other Information
Recorded by Riny Van Zoo Lingen at Melkweg, Amsterdam 6/2/88. Mixed at VHF, Rugby. Special thanks for organisation to Gunther & Thyn.

Recorded on the 1988 European tour, and by the band’s own admission, not one of the best perfomances of the tour, but the only one to be recorded to a standard suitable for release. Some songs (‘Repeater’, ‘Revolution’, Suicide’) had not previously been released by Glass Records, and were held back from the album presumably to avoid complications when they appeared on Playing With Fire.

The photos on the cover were taken by Clint Boon of Inspiral Carpets at the Benn Hall gig on 18 December 1986.

The inlay of the Glass CD suggests that Glass were planning to reissue Sound Of Confusion and The Perfect Prescription on CD, and had allocated them catalogue numbers. They were instead reissued by Fire Records in 1989.

“Gunter was our agent in Holland and Thynn was his girlfriend. Thynn said to Gunter that she’d heard ‘Losin Touch With My Mind’ on Dutch radio and that it freaked her out, she loved it. It made Gunter pursue us.” Pete Kember in issue two of the Spacemen 3 fanzine Outer Limits.


Reviews from the NME, Sounds, Howl (Germany), Spex (Germany), and of the reissue from the NME and Melody Maker
Text of Howl review

Gäbe es heute noch LSD-Filme, die S3 mit ihrer Repetitiv-Psychedelia wären erste Anwärter für den Soundtrack. Diese Live-LP, mitgeschnitten im Amsterdamer Touristen-Kiffer-Paradies Melkweg (alle waren breit), ist ihr Abschiedsgeschenk an ihr altes Label Glass Records. Und was für ein feines.

Zweifellos sind die Burschen mit ihren Veröffentlichungen gewachsen, haben gelernt ihre Instrumente in den Griff zu bekommen und können nun mehr als Ein-Akkord-Dröhn-Psychedelia, so geschehen auf ihrer ersten LP “Sound Of Confusion”, obwohl das absolut seine Reize hat. Dieses stupid-kontrollierte Durchhalten eines Riffs zelebrieren sie hier zur Perfektion, die Songs verändern sich minimal, einzig die ständig einfallenden Kreisch-WahWah-Feedback-Soli bewegen etwas. Doch darunter ist immer DAS RIFF.

Im Ganzen ist die Platte natürlich härter als das letzte Studiowerk, be idem sie offensichtlich voher von LSD auf Opium umgestiegen waren. Drei Originale und Coverversionen von MC5 (gleich 2x), Juicy Lucy und den 13th Floor Elevators machen “Performance” zu einem gigantischen Trip. Taste the weird world of Spacemen 3! Now!

Translation of Howl review

If there were still LSD films today, the S3 with its repetitive psychedelia would be the first contenders for the soundtrack. This live LP, recorded in Amsterdam’s tourist and stoner paradise Melkweg (all of them were wide), is their farewell present to their old label Glass Records. And what a fine one.

Undoubtedly the guys have grown with their releases, have learned to get a grip on their instruments and can now do more than one-chord booming psychedelia, as happened on their first LP “Sound Of Confusion”, even though it absolutely has its charms. They celebrate this stupid-controlled perseverance of a riff to perfection, the songs change minimally, only the constantly occurring screech-wah-feedback solos move something. But below is always THE RIFF.

On the whole, the record is of course harder than the last studio work, in which they had obviously switched from LSD to opium before. Three originals and cover versions of MC5 (2x), Juicy Lucy and the 13th Floor Elevators make “Performance” a gigantic trip. Taste the weird world of Spacemen 3! Now!

Text of Spex review

Möglicherweise um aus dem Glass-Vertrag rauszkommen, haben Spacemen 3 ein Live-Album mit fast durchweg schon auf Platte erschienen Titeln aufgenommen, live im Hippie-Mekka Melkweg zu Amsterdam. Jede ihrer Studio-Platten ist besser, und das, was den Reiz ihrer Live-Auftritte ausmacht, die Vibration des ganzen Raums zu einem einzigen Feedback-Groove, funktioniert nur, wenn man sich in diesem Raum aufhält. Um das gleiche Ergebnis über die vielen Stationen der Vermittlung zu retten, bedarf es der Studiotechnil, die Spacemen 3 sonst beherrschen, nicht unbeeindruckbarer, neutraler Aufzeichnungsgeräte.

Translation of Spex review

Possibly to get out of the Glass contract, Spacemen 3 recorded a live album with almost all of the tracks already on records, live in the hippie mecca of Melkweg in Amsterdam. Each of their studio records is better, and what makes their live performances so appealing, the whole room vibrating into a single feedback groove, only works when you’re in that room. In order to save the same result via the many stations of the exchange, the studio technology that Spacemen 3 otherwise mastered, not unimpressive, neutral recording devices is required.

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