1. Brown Sugar, 2. Bitch, 3. Rocks Off, 4. Gimme Shelter, 5. Happy, 6. Tumbling Dice, 7. Love In Vain, 8. Sweet Virginia, 9. You Can t Always Get What You Want, 10. All Down The Line, 11. Midnight Rambler, 12. Band Introduction, 13. Bye Bye Johnny, 14. Rip This Joint, 15. Jumping Jack Flash, 16.Street Fighting Man.

This Boston performance has been released on various titles over the years, starting with Out on Bail 1972 a tape that had an uncirculated version that surfaced about 30 years after the concert, although incomplete; on cd came out Midnight Gamblers  (ExileXM-009AB), Jailhouse Rock (DAC 026), Gin Soaked Barroom Queen in Boston (WG-008) offered a different source than the Exile release, this was a two sources release with tracks from 1 through 9 coming from one source and the rest from a different one. Then Jailhouse Rock (PGN 089) came out with a good stereo recording. This show in particular has always had some issues about pitch and equalization, it has always been difficult to understand which of the multiple sources was the best. The stop at Boston has been important in the Stones story, they played a show in Montreal, Canada on the previous day and entered the United States again on the 18th heading to Boston. However, Keith, who was annoyed at being photographed during his immigration review, hit a Paparazzi and the police of Providence arrested him. In addition to that,   Bobby Keys, and Marshall Chess who was President of Stones Label at that time, also volunteered to be arrested, trying to protect Keith, ad they all were detained.
An unexpected incident, but then Mr. White, the mayor of Boston stepped in and became a savior. At that time there were riots of immigrants and another riot woulf happen  if Stones show had not happened, the Boston mayor requested the Providence police to hand over the arrested members and as a result, Boston s first show happened successfully, but the starting time was midnight and of course the date had changed to the 19th . Even if the start had been delayed to that extent, the 2^nd show actually happened on the same day . Of this second show there are two monaural audience recordings, with the most popular eing the DAC version while the Exile version was released   as version 2. The first version   is found on Ginsoaked Barroom Queen In Boston   released by Weeping Goat. Both sources are audience recordings taped at a distance, but version 1 is roughher but slightly bettern. However, there are problems in this recording up to You Can t Always Get What You Want, in fact on Ginsoaked Barroom Queen In Boston   had connected what was left of version 2 and the result was that freshness dramatically improved compared to previous releases. So in short version 1 is mono audience recording whose best epresentation can be found on the Weeping Goat title although You Can t Always Get What You Want Only was just taped halfway. Version 2 was monp as well and can be found on DAC 026 and EXILE discs.
Lately a new stereo version has surfaces, low generation, ao label 2 cd called Boston 1972 having several cuts with the left channel dropping out. There was rumours of Utight/Satisfaction having been played as encore, but no recording has that. Let s examine this release then, which shows a mix of two sources.
As reference was used  DAC 026 ( the second disc of Jailhouse Rock for the speed and as the only source for the last 7 tracks of this show for the first 9 tracks DAC version was used for the right channel and Weeping Goat (WG008) Ginsoaked Barroom Queen In Boston for the left channel.
For the last 7 tracks as well as for the transition between Love In Vain and Sweet Virginia and also for the end of You Can t Always Get What You Want   that was missing on the WG 008 version obviously only the DAC version was available however it was tampered so that the sound appears more ample, more spacious: something like false stereo. The sonic experience is nice, the recording has acquired the brilliance that has always been missing on many 1972   tapes; of course at times   there is too much stuff on the plate, absolute clarity cannot be expected when mixing two different sources of the same show and here and there comes up some unwanted echo especially on fast numbers. 

Packaging is good, about the title: o n several tracks in particular on Bitch one of the taper (left channel) was often barking ... so it was a joke to use a barking dog on cover. Then the initial post from one version was called Baastan; it seems the reason being Baastan is Bostonian slang.... as well as Baaking is Barking in Bostonian too. This is the origin of title and cover... a joke and lots of fun.