Pink Floyd
1977-02-18
Oude Ahoy-Hallen
Rotterdam, The Netherlands (2nd night)
DISC ONE
01 Sheep 11.35
02 Pigs On The Wing (part 1) 01.53
03 Dogs (cut near the and “who was…”) 16.19
04 Pigs On The Wing (part 2) 02.17
05 Pigs (Three Different Ones) 18.11
DISC TWO
01 Shine On You Crazy Diamond (parts I – V) 13.55
02 Welcome To The Machine 08.09
03 Have A Cigar 05.14
04 Wish You Were Here 06.10
05 Shine On You Crazy Diamond (parts VI – IX) 17.58
06 Money
Tom Waits
Kongressehalle
Frankfurt – DE
12-11-1985
This is yet another one of the rare shows that you often hear about but never find anywhere.(courtesy of M.R. archive) ;O)
Thank you very much to my good friend the Italian gentleman Mauro Verona for sharing this gem. :o)
Quality : B
Lineage :
Source: Audience > unknown generation cassette
Wav > WavePad Sound Editor > Flac
Artwork included.
Tracklist:
Rare double LP set recorded Live at Kongresshalle Frankfurt, Germany, 12 November 1985 (audience recording).
Released in Germany as a bootleg called “I Sing You Under The Table”, possibly 1986.
Numbered edition of 333 copies (33 on red/blue vinyl).
Gatefold cover, handmade silk-screen printing!
Each label is custom-stamped with a different stamp.
Also, Side 1 is backed with side 3 and side 2 backed with side 4.
The track listed on the bootleg coverart as Part Of The Act is actually the first 20 seconds of Ruby’s Arms,
which suddenly stops due to a microphone feedback, after which and Tom goes into
some impromptu piano playing and storytelling.
Take Care Of All My Children is listed as I’m Goin’ To See My Lord.
Tom Waits
Minneapolis, MN USA
Orpheum Theater
1 November 1987
stereo audience recording
(01:45:20)
CONTRAST CLAUSE:
Another recording of this performance – made by a different taper and recorded with different equipment – is running here:
http://www.dimeadozen.org/torrents-details.php?id=573197
cassette side A (30:17.62):
A01. Intro / piano roll: Atmosphere; Rachmaninov 2nd Piano Concerto (00:16.08)
A02. Hang On St. Christopher (02:39.44)
A03. 16 Shells From a Thirty Ought Six (04:08.64)
A04. Down In The Hole (06:21.04)
A05. Gun Street Girl (04:30.44)
A06. comments (used erotica) / introduction (wolf boy) (02:10.49)
A07. Cold Cold Ground (03:23.41)
A08. Yesterday Is Here (02:36.61)
A09. Telephone Call From Istanbul (04:10.47)
cassette side B (28:58.30):
B01. Straight To The Top (Vegas) (09:02.43)
B02. comments (shoes / fashion) / boiler room (02:06.72)
B03. I Wish I Was In New Orleans (04:07.22)
B04. comments (Bob’s airport / 4H Club) (01:02.28)
B05. Christmas Card From A Hooker In Minneapolis (04:31.22)
B06. Jitterbug Boy > Johnsburg Illinois > Jitterbug Boy (04:51.24)
B07. Frank’s Wild Years (03:16.44)
cassette side C (26:03.49):
C01. comments (doctor) (00:35.53)
C02. Innocent When You Dream (04:56.59)
C03. Midtown (instrumental) (01:26.26)
C04. Underground (02:28.68)
C05. Clap Hands (04:41.22)
C06. comments (bad days) (00:56.19)
C07. More Than Rain (03:05.48)
C08. Singapore (02:45.00)
C09. introduction: Rain Dogs (00:43.53)
C10. Rain Dogs (03:28.30)
[end of main set]
cassette side D (20:56.44):
encore:
D01. comments (trouble light) (00:31.60)
D02. Papa’s Got A Brand New Bag James Brown
D03. 9th & Hennepin (04:03.30)
D04. Blind Love (04:36.09)
D05. band introductions (02:25.35)
D06. Walking Spanish (04:02.38)
D07. Straight To The Top (02:50.17)
voice, guitar, piano, bullhorn, space gun: Tom Waits
personnel – introduced as “The Mighty Flourescents”:
all saxophones, baritone horn, marimba: Ralph Carney
upright bass, Vox electric: Greg Cohen
guitar, banjo, trumpet: Marc Ribot
drums, percussion: Michael Blair
accordion, keyboard: Willie “The Squeeze” Schwarz
Digitizing notes [J-dot; 2016]:
source [1987]:
1st-gen. copies of master cassettes [2 Maxell XL-II-S C-60 (High Bias)]
lineage [1987]:
Sony D-6 portable stereo recording cassette deck / unknown mic > master cassettes (2 C-90 cassettes) > 1st-gen. copies of master cassettes [fade-in/out applied during transfer; possibly some minor EQ (?); level adjustment (applause; stereo imaging / balance)] >
lineage [2016]:
Nakamichi LX-3 cassette deck [Azimuth adjustment applied to playback head] > Edirol R-04 [RCA/analog in; 24-bit/48kHz transfer (.wav)] > PC [via USB] > CD Wave Editor [Version 1.98; Windows Build Number: 0000.23F0] (sector boundary tracking) > Trader’s Little Helper [Version 2.7.0; Build 172] (Level 8 .wav > .flac conversion)
[additional notes from J. : 2016]:
The source for this version was made from my own re-compiled 1st-gen master tapes, shortly after the concert. As with so many live tapes I made back then, I would often consolidate segments from multiple cassettes onto one tape, applying fade-ins, fade-outs, and occasionally, some equalization in the process. If only I still had those original tapes!
Working on the “Mr. Smith” recording of this performance got me a bit excited. Nearly thirty years later, it was the first time I had seen another source for that show other than my own, and I held my breath, in the hopes that the other taper might have caught the last three songs which I missed, due to failing batteries. Alas, it was not to be the case, after all. Still, it provided the incentive for me to revisit my own recording; and I was curious how it would fare on one of the NAK decks I had picked up recently. I was nearly certain that I had already digitized this in the past, but after a good bit of research, there was no evidence of having actually done so. If it’s true that I never actually got around to it before, than this might possibly be the first digitized version from this source recording, unless someone can prove otherwise.
As this particular recording has long been one of my absolute favorites, it’s kind of ironic that at the time, I wasn’t even remotely a fan, but the young woman I was fond of at the time was a huge fan, so naturally I didn’t waste any time getting tickets, and was lucky enough to score some tickets in the fifth row (which as it turned out, did wonders for the quality of the recording). If I had been indifferent about the show when I walked into the venue, that feeling was completely gone by the end of the show; it was one of the few performances I can say was truly memorable.
For reasons I will never know, my batteries – which were brand new right before the show – chose to stop working as Waits returned to stage and began singing “Time”. I tried starting the deck again, but I could see the battery light had lost its’ glow, and I kind of knew it was a lost cause. He followed that with “Train Song”, which was also not recorded, and then left the stage again, to return a few minutes later for one final encore. I believe I was actually fighting back tears when the first notes of “Tom Traubert’s Blues” began, and I realized I was not going to be able to convince my tape deck to record one more note.
Once outside, we decided to loiter in the parking lot behind the venue, where the tour bus was parked. I hadn’t realized that the wall I was leaning on while lighting my cigarette was in fact a door, until it suddenly jerked open and nearly knocked me to the ground. “Oh! Sorry, man!”, I heard a familiar voice exclaim, as a spritely fellow quickly reached out to help me back on my feet; and once I was upright, the voice quipped, “Hey, can I get a light from you?” Of course, I immediately recognized him as the same character I had just spent the past two hours watching on stage. My friend and I chatted with him for a few minutes about nothing in particular, before others started to congregate in the lot, and we knew it was time to say goodbye. I know I silently cursed the batteries in my deck for not working, since it was still strapped under my jacket, and it would have been fun to have recorded our meaningless little chat.
Four days later, recording for “Big Time” began, on November 5, 6, 7, 8, 9. When that concert film came out, I honestly felt that I had a recording that better captured the energy of Tom Waits in performance mode, but I suppose every taper must think that about at least one of their own recordings. It’s all good, as the kids like to say.
“I Wish I Was In New Orleans” and “9th & Hennepin” are complete on this recording.
This recording is incomplete.
Songs missing:
Time
Train Song
Tom Traubert’s Blues
additional notes [01001010; 2016]:
J. was pretty sure that he had digitized this before and that it had been on the DIME tracker, but we couldn’t find any notes in the physical archives, and there doesn’t seem to be any mention of it in the DIME-bot-list. If anyone can confirm that it was shared digitally, please let us know! In any case, this sounds pretty good – enjoy!
The “Sonic Archives” Tapes.
Made available to the world through the collaborative resources of these people:
Recorded [1987]; digitized [2016]; technical notes [2016] by J. Free [sonicarchives.com]
Uploaded; additional comments: 01001010
Dedicated to tapesfor2, who had this to say about my efforts to preserve the Sonic Archives tape collection:
“You shouldn’t have. His recordings were at ‘best’ personal souvenirs. They were not quality recordings. They should not be shared. Those tapes belong on a waste dump.”
Robert Ryan was made to play tough guys and villains. He just had that look about him. In Act of Violence, he plays a guy who is menacing another man played by Van Heflin. At first, Ryan’s character seems like a villain, he’s stalking Heflin’s character for no apparent reason. Heflin’s character seems like good guy, he’s helped the community and has an ice wife (played by a young Janet Leigh). We’ve seen that sort of thing a million times in movies.
But this film has something else in mind. Ryan’s character is more complex, he’s more justified in his acts of terror. While the seemingly nice guy Heflin is playing has a dark past.
It is a terrifical little crackerjack film noir and you can read my full review here.
For a long time, I would have said Hamlet was my favorite Shakespearean play. It’s got some of the best lines, it has a powerhouse performance at its center, and it has one gnarly finale. But somewhere along the line, I’ve come to love Macbeth more. It has some great lines as well, but I find the storyline more nuanced and satisfying.
I’ve seen (and reviewed) multiple cinematic adaptations and I recently got to watch a Blu-ray of Orson Welles’ take on the Scottish Play. He filmed it on a shoestring budget and it more or less bombed at the box office and is generally considered one of his lesser efforts. I thought it was better than its reputation, but still not my favorite adaptation of the play.
You can read my full review here.
Marcel the Shell With Shoes On is a film that mixes live-action footage with stop-motion animation. It is based on a series of short films created by Dean Fleischer Camp and Jenny Slate. It is delightful, sweet, sometimes poignant and sad. It runs, perhaps, a little too long, but is mostly a joy to watch.
The story involves a young man named Dean (Dean Fleischer Camp) who buys a house after a messy divorce with the intent of turning it into an Airbnb. Upon arrival, he discovers Marcel (Jenny Slate) a one-inch tall shell, who in fact does have his shoes on (and has a face and can walk and talk). He lives in the house with his grandmother (Isabella Rossellini). They are both a little lost and sometimes sad.
There used to be an entire family of shells in the house, but when the couple of used to live there broke up, the man took all the other shells with him, leaving Marcel and his grandmother behind.
Dean is a documentary filmmaker and begins interviewing Marcel about his life. He turns these interviews into short YouTube videos and quickly Marcel becomes an Internet star. Before long people start showing up at the house and 60 Minutes comes calling. Marcel uses this attention to try and find his missing family.
Mostly the film follows Marcel as he goes about his daily life. He is whimsical, clever, and in awe of the wonders of the world. There is a jar of honey that has spilled. Marcel walks across it, using the honey’s stickiness to allow him to walk on walls and the ceiling. He connects a rope to a large mixer and the other end to a tree so that when turning the mixer on it shakes the tree, knocking its nuts to the ground. His grandmother befriends insects who help her garden.
It is in these moments that the film excels. Marcel is such a whimsical character – his mix of nativity and awe makes him adorable and beloved. I was less enthused with the bits that follow his ever-increasing social media presence and celebrity. The interview with 60 Minutes felt out of place. But mostly the film is a delight. Heartwarming and dear.
Pink Floyd
Fillmore East, New York, NY, USA
1970.09.27
Source/Lineage: audience / cass[low]>cdr(?)>flac > wav > Adobe Audition 1.5 (minor editing) > Cdwav (track splitting) > TLH > FLAC
Total Length: 47:47
Rolling Stones
Soldier Field
Chicago, Illinois
June 27, 2024
Source: DPA 4060 => Tascam DR-2d
Conversion: WAV => Audio Cleaning Lab => FLAC (16-bit)
Location: Section 130, 1st row
Track listing:
CD1 (63:15):
(1) Intro (0:10)
(2) Start Me Up (4:15)
(3) Get Off Of My Cloud (3:51)
(4) It’s Only Rock and Roll (4:50)
(5) Angry (4:51)
(6) Banter (0:48)
(7) She’s a Rainbow (3:45)
(8) Wild Horses (5:08)
(9) Mess It Up (5:55)
(10) Tumbling Dice (5:42)
(11) You Can’t Always Get What You Want (7:09)
(12) Band introductions (4:44)
(13) Tell Me Straight (4:05)
(14) Little T&A (4:14)
(15) Happy (3:42)
CD2 (56:27):
(1) Sympathy For The Devil (7:09)
(2) Honky Tonk Women (4:39)
(3) Midnight Rambler (11:59)
(4) Banter (0:27)
(5) Gimme Shelter (6:47)
(6) Paint It Black (4:49)
(7) Jumping Jack Flash (4:31)
(8) Encore break (3:01)
(9) Sweet Sounds of Heaven (6:04)
(10) (I Can’t Get No) Satisfaction (6:57)
There are no fades applied to this recording; if you choose to burn to CD, the above splits are just a suggestion.
Comments: This recording captures the first of two nights of the Rolling Stones in Chicago on the last dates of the U.S. leg of their “Hackney Diamonds” tour. Great show, with a good mix of material from the 1960s through today, including four songs from their most recent album. Sound quality is pretty good but not great; I was in the front row of the section right off the floor at roughly the 50-yard line; as a result, there was minimal crowd interference (there was nobody in front of me) but I wasn’t as close to the PA as I would have liked. Overall I was happy with this recording, and in the absence of other sources I would imagine that most Stones fans will be too.
In terms of performances, the Stones are always entertaining at this stage of their career, although there were some noticeable flubs. Listen to the opening notes of “Start Me Up” and “Satisfaction” to hear some clunkers from Keith. It’s not the 1970s anymore but this band still delivers better than most rock bands a generation (or more) younger. Overall an enjoyable recording.
Jethro Tull
3/18/94
Warnors Theater
Fresno, CA
FOB, 8th Row, Right: Nyquist Omnis >Sony TCD-D7
(Missing: Second Half Of ‘Thick As A Brick’ & All Of ‘Beggar’s Farm’ & ‘Sossity-You’re A Woman’, Because Of An Unplugged Microphone Cable.)
Transfer:
Otari DTR-8S >S/PDIF >Korg MR2000-S @ 16bit/48khz)
Mastering
Har-Bal 3.0 & iZotope RX6 advanced
Flying -M- (Feb. 2018)
WAV >Audacity (Track Splits, Down Sample / Dither To 16bit/44.1khz) >FLAC (Level 8) + Tags Via xACT 2.53
Recorded, Audacity, FLAC, Tags, And Front Cover Artwork By OldNeumanntapr.
Transfer & Har-Bal / iZotope Post Production By Flying M.
(missing intro)
*Title Announced By Ian
Ian Anderson – Lead Vocals, Flute
Andy Giddings – Keyboards, Backing Vocals
Doane Perry – Drums, Percussion
Dave Peg – Bass Guitar, Backing Vocals
Martin Barre – Lead Guitar
OldNeumanntapr Notes:
This was my first Jethro Tull concert and I was impressed. This was also the first time that I had used a Sony D7 for recording a concert. As I remember, I borrowed this particular D7 from a taper in Florida that I met though DAT Heads online. I let him use my Nakamichi CM-300s to record a Grateful Dead show in exchange for the use of his D7.
My friend Dave got tickets up front on the right hand side in the old Warnors Theater in Fresno. My friend Tom gave me a ride to the show with his group, and that was an experience in itself! We took two cars and Tom followed his wife Jan who had some of her friends with her in her car. Tom ended up running a red light in Fresno because he didn’t want to lose Jan in city traffic. (This was before we all had cell phones.) His driving scared the hell out of me, as I was in the back seat trying to assemble my taping gear. I’m glad I went home with my friend Dave in his car after the show!
My cable that connects the mics to the deck came unplugged for about 13 minutes during the show before I noticed I had no levels so that was a bummer. I missed the very last part of Thick As A Brick, all of Beggar’s Farm, and Sossity. Otherwise the tape sounds pretty good. Musically I thought the show was very good. Ian played a good show. I really enjoyed seeing a show in the old Warnors Theater. It really is a neat place. Around the corner on a side street there was an even older, seedier theater, that I didn’t catch the name of. I think the Ramones were playing there that night, from what I remember seeing on the marquee. Thanks to Flying M for a fresh digital transfer and his post production fairy-dust magic!
A suggested disc break would be possibly between tracks 10 and 11, for those that still burn CDs.
Flying M Notes:
Recording starts just a tad late to get the musical introduction but it catches all of the first song.
Just a few minutes into “Thick As A Brick” the microphone cable becomes unplugged missing most of that song and the next 2.
Some applause clips from a couple different places were spliced together to create a false ending for that song and bridge the abrupt break.
Applause was tamed by removing the loudest clapping as well as muffling the who-hoo’s and close whistling.
These microphones don’t pick up low frequency real well so Har-Bal was used to re-shape the spectral balance.
Adding some bottom end while trying to retain the crystal clear highs these mics are so good at catching.
A light compression was used to increase the quieter parts by 3dB thus bringing out additional detail.
It also brings up those little handling noises that I then spent so much time removing for this.
-M-
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉
David Bowie
John Labatt Centre
London, ON, Canada
14th May 2004
FM radio broadcast of a selection from the set…
Recorded by Soledriver…
Radio Broadcast > Technics Tuner > Aiwa Tape Deck >
Tascam DA-20 Mk 2 DAT machine > HHb burnit CDr recorder…no EQ
CDr > EAC > Traders Little Helper > Flac8 sector aligned
01 – New Killer Star
02 – Cactus (Pixies cover)
03 – Sister Midnight (iggy Pop cover)
04 – All the Young Dudes
05 – The Loneliest Guy
06 – Under Pressure
07 – Station to Station
08 – Ashes to Ashes
09 – Quicksand
10 – Modern Love
11 – I’m Afraid Of Americans
12 – “Heroes”
David Bowie – vocals, guitars, stylophone, harmonica
Earl Slick – guitar
Gerry Leonard – guitar
Gail Ann Dorsey – bass guitar, backing vocals
Sterling Campbell – drums
Mike Garson – keyboards, piano
Catherine Russell – keyboards, percussion, acoustic guitar, backing vocals
Feel free to do whatever you like with this recording as long as you don’t charge money for it!
MP3, Who Cares? Just remember to support the artists, and live music!!
themidnightcafe.org 