Fleetwood Mac – Shows by Date

1968.06.09 – San Francisco, CA
1975.10.17 – Passaic, NJ
1977.05.21 – Nashville, TN
1982.10.21 – Los Angeles, CA
1987.11.28 – Salt Lake City, UT
1988.05.18 – London, England
1988.06.05 – Nurburg, Germany
1997.10.17 – Irvine, CA
1997.11.26 – Albany, NY
1997.11.27 – New York, NY
1998.09.05 – Ventura, CA – Peter Green solo
2003.05.15 – Buffalo, NY
2003.06.08 – Tampa, FL
2003.09.07 – Duluth, GA
2009.03.01 – Pittsburgh, PA
2009.03.16 – Rochester, NY
2009.03.26 – Toronto, Canada
2015.06.16 – Glasgow, Scotland

Fleetwood Mac – Irvine, CA (10/17/97)

Fleetwood Mac
Irvine Meadows Ampitheatre
Irvine, CA
10/17/97

Pre-FM Master

Disc 1

  1. JJ Jackson Intro
  2. The Chain
  3. Dreams
  4. Gold Dust Woman
  5. I’m So Afraid
  6. Temporary One
  7. Bleed to Love Her
  8. Gypsy
  9. Big Love
  10. Landslide

Disc 2

  1. Say You Love Me
  2. You Make Loving Fun
  3. Stand Back
  4. Oh Daddy
  6. Rhiannon
  7. Second Hand News
  8. Tusk
  9. Go Your Own Way
  10. Don’t Stop
  11. JJ Jackson Outro
  12. Show Promo

Pink Floyd – Tempe, AZ (04/20/75)

Pink Floyd
1975 April 20th
Activity Center, Arizona State University, Tempe, USA
title: “Tempe”

tracklist:

CD1

  1. Raving And Drooling (11:33)
  2. You’ve Got To Be Crazy (13:59)
  3. Speak To Me (1:58)
  4. Breathe (2:37)
  5. On The Run (4:40)
  6. Time (5:05)
  7. Breathe (Reprise) (1:02)
  8. The Great Gig In The Sky (6:45)
  9. Money (7:52)
  10. Us And Them (7:25)
  11. Any Colour You Like (7:30)
  12. Brain Damage (3:47)
  13. Eclipse (1:42)

CD2

  1. Echoes – cut (8:29)

Bonus:
January ?? 1974
Rockspeak, BBC Radio 1, London – Michael Wale interviews Roger Waters

  1. Interview (31:00)

tot length: 84:24 + 31:00 (bonus)

SQ: G+
(bonus:VG)

Grateful Dead – Oakland, CA (10/31/91)

Grateful Dead
10/31/91
Oakland Coliseum Arena
Oakland, CA

OTS; Nakamichi CM 300 CP4s >Sony WM-D6C [MX-S 100s w/Dolby C]
MX-S Cassette Masters Transferred Via Denon DR-M12HR w/Dolby C Engaged >Tascam DR100mkII (24bit/48kHz)
WAV >Audacity (Amplify, Track Splits, Down Sample To 16bit/44.1kHz, Minor Edits [Tape Flips] & Fades) >Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.53

Set I

  1. Tuning
  2. Help On The Way >
  3. Slipknot! >
  4. Franklin’s Tower
  5. Little Red Rooster
  6. Loser
  7. Just Like Tom Thumb’s Blues (tape flip)
  8. Let It Grow

Set II
Disc II:

  1. Tuning
  2. Scarlet Begonias >
  3. Fire On The Mountain >
  4. Truckin’ >
  5. Spoonful > *
  6. Dark Star > *
  7. Ken Kesey Rap $
  8. Drums > (tape flip)

Disc III:

  1. Space >
  2. Dark Star > *
  3. The Last Time *
  4. Standing On The Moon >
  5. Throwing Stones > (tape flip)
  6. Not Fade Away

Encore:

  1. Werewolves Of London *

Final performance of Werewolves Of London

Jerry Garcia – Guitar
Bob Weir – Guitar
Vince Welnick – Keyboards
Bruce Hornsby – Piano, Accordion
Phil Lesh – Bass
Bill Kreutzmann – Drums
Mickey Hart – Drums
Gary Duncan – Guitar *
Ken Kesey – Rap $

OldNeumanntapr Notes;
This was probably the best Dead show I’ve ever seen, and recorded, both in terms of set list and performance. This was my only Halloween show that I’d seen of the Dead, and the band was ON FIRE! After retiring ‘Help On The Way > Slipknot’ for so long it was nice to hear it return. This was my third ‘Dark Star’, and probably the best of the three, and was the only time I’d seen them do ‘Werewolves Of London’. It was quite appropriate for Halloween. Gary Duncan made a return from playing on the 27th and it was cool to see and hear him on ‘Spoonful’ and ‘Dark Star’. This was also the only time I’d seen Ken Kesey and that was really special. There was a guy going through the tapers section that night passing out little raised stick-on pumpkins for Halloween, so I took one and stuck it to the front of my D6. It’s still there!

I went to this show with my ex wife Nikki and my friend Dave. This was the night that I got flustered driving through Oakland going to the Coliseum and accidentally made a left turn onto the railroad racks before making a quick getaway. Hey, I never liked city driving! Dave laughed at me, of course.

When we were coming home, back to San Luis Obispo County, we stopped for a late meal at the Denny’s restaurant in Gilroy. I remember that there were two guys in the lobby talking loudly on big oversized cell phones of the day, and Dave looked at me and said, ‘What do you bet they’re talking to each other!’ Too funny.

We took our new ’91 Honda Civic sedan to this show and Dave was impressed with the cruise control on the way home through the Salinas Valley.

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

31 Days of Horror: The Fog (1980)

the fog poster

John Carpenter’s The Fog begins with a cheesy old campfire tale told by an old man that essentially gives us the backstory to the movie we’re about to see. Both the backstory and the actual story are pretty silly. The monsters are goofy, and the ending somewhat anti-climatic. Yet I love the film through and through.

Carpenter is the master of creating a mood and The Fog finds him at his moodiest. Since time immemorial (or at least the time in which films have existed) movies have used fog to create a spooky, eerie mood. Fog was made for cinema. It is both opaque and translucent. It obfuscates your vision and yet seem to reveal. It crawls in and moves with the wind. And it looks great when lit up.

One hundred years ago, on a dark foggy night the founders of Antonio Bay, a small coastal town in Northern California murdered a group of lepers for their gold. Now as the town celebrates its centennial anniversary the fog is back, as are the lepers and they are looking for revenge.

Our heroes are Stevie Wayne (Adrienne Barbeau) who owns and DJs the coolest looking lo-fi radio station inside a lighthouse, fisherman Nick Castle (Tom Atkins), and Elizabeth Solley (Jamie Lee Curtis) the hitchhiker Nick picked up one foggy night.

Stevie spends most of her time in the lighthouse talking to her listeners (and us) whilst playing light jazz records. She acts almost like a narrator, feeding her listeners (and us) information. Nick and Elizabeth run around trying to figure out what is happening.

The monsters apparently only appear between the hours of 12 midnight and 1 AM. They show up the first night mostly messing with electronic equipment and freaking everybody out, and then on the second night, the night of the actual anniversary they start killing people.

Whatever, the story takes second chair to the general creepiness Carpenter is creating. As usual, Carpenter wrote his own score and it is terrific. The film looks terrific and there is an enormous amount of creepy fog drifting into town across the bay, floating across streets and into rooms. The film lights it up giving it a hypnotic look.

It isn’t particularly scary and there are just a few scenes of genuine violence (although none of it is bloody) but the general vibe is excellent.

The Friday Night Horror Movie: The Girl In Room 2A (1974)

the girl in 2A poster

I watched The Girl in Room 2A via my Forgotten Gialli Blu-ray collection from Severin Films. “Forgotten” makes them sound like some overlooked classics or some incredible bits of cinema that were lost to time. But in reality, they were forgotten for a reason. That reason being they are mostly rubbish.

That’s not entirely fair to The Girl in Room 2A. It isn’t complete rubbish, it has a few moments that make it sort-of interesting. Or at least worth a watch if you are digging into the deep well of Giallo.

It starts out with a bang. A woman is kidnapped as she leaves a building. She’s grabbed, tossed into the back of a car, and taken to some dungeon. There she is stripped and punctured with these spikey metal rods. Then she’s driven to a cliff and dumped overboard. And all of that occurs during the opening credits.

Then we meet our heroine Margaret Bradley (Daniela Giordano). She’s just been released from prison and she sets herself up in the titular Room 2A in a sort-of halfway house.

The owner of the house is nice, but a bit nosey. The room is comfortable but there is a strange red spot on the floor. She’ll clean it up, but later it will reappear. At night she hears strange noises and she keeps having strange dreams about queer-looking people dressed in red robes doing…things to her.

I quite liked this part of the film. I love a good haunted house mystery. But then the film decides to show us what’s going on. In detail. They don’t just let us see the killers but it explains who they are and what their purpose is. In detail. I won’t bother with it, but all the explanations bog the film down. The mystery is lost and it becomes rather dull.

There is also a love interest which is dull in its own way, but at least that makes sense. I can accept a love interest in this sort of film, but there is no reason to spend so much time with the death cult explaining their motivations.

There is a final action sequence that’s pretty great, but it isn’t enough to make the film interesting.

The Boy and the Heron (2024)

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Hayao Miyazaki came out of retirement and made one of his best films. The Boy and the Heron is everything you want a Studio Ghibli film to be – exciting, adventurous, weird, funny, and ultimately moving. I love it. You can read my review of the 4K UHD disc over at Cinema Sentries.

Broken Oath (1977)

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We are neck deep into 31 Days of Horror. I love it. I love watching horror movies. I love writing about them. But I gotta admit, sometimes it is hard. Sometimes my “real” life wears me out, brings me down, freaking exhausts me.

This week has been a physically exhausting one for me at work. I come home and maybe watch a movie, but finding the energy to write about one has been difficult.

Luckily, I’ve written lots of other reviews for Cinema Sentries and now I get to share one with you.

Broken Oath is a Hong Kong, Kung Fu adaptation of the Lady Snowblood story. It isn’t as good as the original Japanese film, but it is still a lot of fun. You can read my review here.

Columbia Classics Collection: Volume 5 is the New Blu-ray Pick of the Week

My wife has some extended family in the Nashville, TN area. Whenever we visit them, or even just pass through we stop at a store called McKays. McKays is a giant used book/movie/music/collectibles store. I love it. We wander the aisles for an hour or so picking out everything our budget will allow (we never enter until we’ve agreed on a spending limit, otherwise we’d go broke).

They have a very nice classics section in their DVD department and I usually wind up with a handful of films from there. My favorites are the boxed sets. There is always an assortment of old DVDs packaged together in some way or another. Sometimes it’s by genre, or all the films star a certain actor or were directed by the same person. Other times it will be films put out by a particular studio.

They don’t seem to do that type of thing as often with Blu-rays and 4K UHDs, or maybe I’m just not looking hard enough (or quite possibly my bank account can afford it so I ignore them). My pick this week is a nice-looking set of films from Columbia Studios. I can’t figure out if they have any other commonalities, probably not. As per usual with this sort of thing, some films are better than others, but I love me a boxed set and I’m adding this one to my Wish List.

the films included are All the King’s Men 4K / On the Waterfront 4K / A Man for All Seasons 4K / Tootsie 4K / The Age of Innocence 4K / Little Women 4K / The Scarlet Lady 4K / The Desert Bride 4K / Ladies of Leisure 4K / The Belle of Broadway BD.

Also out this week that looks interesting:

Deadpool & Wolverine: The X-Men films have been a very mixed bag, but the best ones are some of the best comic book films ever made and Hugh Jackman has consistently been excellent in his portrayal of Wolverine. I quite liked the first Deadpool as it was a refreshing breath of (vulgar) air from the muck of comic book films we’ve been experiencing for the last decade +. The sequel was just okay. Which is to say I’ll probably watch this at some point, but not anytime soon.

Hellraiser: Quartet of Torment: I’m not a huge fan of the Hellraiser films. They tend to rely too heavily and the icky-freaky factor and not enough on creating a good story. But they have their fans and this set of the first four films from Arrow Video looks great.

Twisters: I’m from Oklahoma. We know a lot about tornados. The original Twister knew very little about them. That ruined the film for me. They made so many stupid mistakes. I’ll probably continue to skip this one.

Cuckoo: I keep hearing good things about this one. I’ve been avoiding information on it so that I can come to it fresh.

Gummo: Harmony Korine’s weird little drama about lonely people living lonely lives in Ohio gets the 4K treatment from Criterion.

The Cabinet of Dr. Caligari: Kino Lorber is giving this silent horror classic (that I still haven’t seen) the 4K treatment.

Cheeky!: Tinto Brass is famous for having directed Caligula and refusing to insert hard-core pornography into it and then he spent the rest of his career making medium-core erotic flicks. Cult Epics is giving this one the 4K treatment.

31 Days of Horror: Cursed (2005)

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Several years after creating the hugely successful Scream franchise writer Kevin Williamson and director Wes Craven teamed up to make a werewolf film starring Christina Ricci, Jesse Eisenberg, and Judy Greer. If that sounds like a good time at the movies you should know that the studio, specifically the Weinsteins, had their perverted, gnarled hands all over it.

They demanded numerous reshoots, edited down Craven’s original R-Rating down to a PG-13, and exchanged Award Winning special effects artist Rick Baker’s physically-made Werewolf designs for lousy-looking CGI ones.

The end results aren’t terrible, but they aren’t great either.

Ricci and Eisenberg play siblings Ellie and Jimmy. On a drive home one evening something jumps in front of them causing their car to crash. Let’s not be coy here with the plot, that something was a werewolf and it bites them. Slowly they will start turning into the beast as well.

But not too much because we like these guys and we can’t have them turning so bad they wind up having a bunch of mutilated corpses on their hands. Jimmy will find himself lying naked in the garden at one point, and Ellie keeps getting little bodily changes from time to time.

In this story, they can keep from becoming full-on werewolves if they can find and kill the werewolf that bit them. A lot of time is spent with them trying to figure that out (and the audience guessing it might be one of the assortment of semi-famous actors who keep showing up.)

You can see hints of what could have been an interesting film tucked into the corners of what we actually get. Looking online and it seems a lot of folks absolutely hate this movie. I didn’t hate it, but it doesn’t do anything original or all that interesting. If Craven and Williamson’s names weren’t on it and if we didn’t know the Weinstein’s mucked with it I suspect the general consensus would be, well not great, but not hated. It is very, as the kids like to say, “Mid.”