Dick Dale
May 10, 1995
SLO Brewing Company,
San Luis Obispo, CA

FOB: Nyquist Omnis > Sony TCD-D7 DAT
DAT Master Transferred: Tascam DA-P1 >S/PDIF >HHb CDR 800 PRO,
CD Masters >One-Track WAV Files >Sound Forge Pro 10.0a (Sony Graphic EQ – Boost High Frequencies Above 7 kHz) >Audacity (Track Splits, Minor Edits) >FLAC (Level 8) + Tags Via xACT 2.37

Recorded, Transferred, FLAC’d, Tagged, & Front-Cover Artwork By OldNeumanntapr.
Sound Forge EQ By Dennis Orr

(Crowd Is A Little Loud And Rowdy. Minor Brick Walling)

Disc I:

1. Crowd/Tuning
2. Jam >
3. Shredded Heat
4. Trail Of Tears
5. Taco Wagon >
6. Ghost Riders In The Sky >
7. Hot Links: Caterpillar Crawl / Rumble
8. Esperanza
9. Take It Or Leave It
10. Misirlou
11. Nitro >
12. Peter Gunn >The Wedge >

Disc Two:

1. Hey Bo Diddley >
2. Fever
3. Talk
4. Gypsy Fire
5. Unknown
6. Maria Elena
7. Let’s Go Trippin’
8. Scalped
9. Talk
10. Bandito
11. Third Stone From The Sun
12. Shake And Stomp > Misirlou (Reprise)

Dick Dale – Guitar, Vocals
Ron ‘The Captain’ Eglit – Bass
D. Brown – Drums

OldNeumanntapr Notes-
This was my second Dick Dale show, and it was a lot closer to home. The first time I saw /recorded Dick Dale, I drove my friends Dave and Brian to the Catalyst in Santa Cruz the previous January in the pouring rain. I wanted my dad to go to that show, but he declined because of the distance and the rain. My dad first saw Dick Dale and the Del-Tones at the Rendezvous Ballroom on Balboa Island in Newport Beach, CA, in 1961. The Rendezvous was an old ballroom left over from the Swing era, built in 1928, and it burned to the ground in 1966. That was Dick Dale’s first big venue. From there he went on to play Harmony Park in Anaheim, the ballroom where Richard Berry wrote ‘Louie Louie’ in 1955. My dad also told me of taking my mom to see Dick Dale at Harmony Park before they were married, so I really wanted him to come to a Dick Dale show with me. When Dick was announced to be playing at SLO Brew, in San Luis Obispo, my dad finally agreed to come. He brought his friend Robbie. You can hear him on the first track say, “Robbie, we need a periscope!’, when people stood up when Dick came on stage. We were sitting at one of the cocktail tables. He also told a friend of mine that the last time he saw Dick Dale was before my friend Patrick was born. After the show I asked my dad what he thought of Dick’s performance. He said that he liked the old shows better with the Del-Tones, but was glad that Dick was still performing. There was a long period in the late 60s and early 70s when Dick did not perform, after suffering colon cancer. I believe Dick’s absence from the stage is what prompted Jimi Hendrix to remark that it was the ‘End of Surf music’. Jimi was another one who first saw Dick Dale perform in the early 60s in Southern CA.

This show was played upstairs at SLO Brew with the smaller stage, before the concerts were moved to the ground floor in mid 2001. I thought he played well, but my recording suffers from a bit of brick walling, because the extreme sound pressure level was too much for my Nyquist Omnis, even with the levels reduced on the recorder. I had first brought my Nakamichi CM-300s upstairs and had them in my bag when I asked Dick before the show if I could record. he said no, so I took them out to the car and exchanged them with the Nyquists, which were custom loaded into a hat. I should have used the Nakamichis because they handled high sound pressure levels better, but I might not have had the stealth cables with me at the time for those microphones.

I still can’t quite catch the name of the drummer on the recording, but Ron Eglit was Dick’s long time bass player. (Dick went through a lot of drummers.)

This was taken from Wikipedia:
“Dale was one of the most influential guitarists of all time and especially of the early 1960s. Most of the leading bands in surf music, such as The Beach Boys, Jan and Dean and The Trashmen, were influenced by Dale’s music, and often included recordings of Dale’s songs in their albums. His style and music influenced guitarists such as Jimi Hendrix, Pete Townshend, Eddie Van Halen and Brian May.

He has been credited with popularizing tremolo picking on electric guitar, a technique that is now widely used in many musical genres (such as extreme metal, jazz fusion, etc.).[5] His speedy single-note staccato picking technique was unrivaled until guitarists like Eddie Van Halen entered the music scene.

He is cited as one of the fathers of heavy metal for pushing the limits of amplification.[7] Working together with Leo Fender, Dale also pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing thick and previously unheard volumes including the first-ever 100-watt guitar amplifier. Dale also pioneered the use of portable reverb effects.

The use of his recording of “Misirlou” by Quentin Tarantino in the film Pulp Fiction led to his return in the 1990s, marked by four albums and world tours. He was also nominated for a Grammy in the Best Rock Instrumental Performance category for the song “Pipeline” with Stevie Ray Vaughan. In “Rolling Stone’s 100 Greatest Guitarists of All Time”, Dale was ranked 31st in 2003 and 74th in the 2011 revision.”

Do NOT Convert To MP3.
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