Tag: california

Jethro Tull – Fresno, CA (03/18/94)

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)

  1. My Sunday Feeling
  2. For A Thousand Mothers
  3. Living In The Past
  4. Bouree
  5. So Much Trouble
  6. With You There To Help Me
  7. In The Grip Of Stronger Stuff >
  8. The Whistler
  9. Farm On The Freeway
  10. Thick As A Brick (incomplete) (splice located at 41:42)
    xx. Beggar’s Farm (missing)
    xx. Sossity-You’re A Woman (missing)
  11. Songs From The Wood >
  12. Too Old To Rock And Roll >
  13. Heavy Horses >
  14. Songs From The Wood (reprise)
  15. Budapest
  16. Nameless Flute Meanderings* (instrumental)
  17. A Passion Play Extract >
  18. A New Day Yesterday
  19. Aqualung >
  20. Locomotive Breath
  21. band introductions and encore call
  22. Cross-Eyed Mary >
  23. Dharma For One
  24. Danube Waltz

*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. 😉

John Hiatt – San Luis Obispo, CA (06/26/19)



John Hiatt (Acoustic)
June 26, 2019
Fremont Theater
San Luis Obispo, California

12th Row, Slightly Left Of Center: Neumann AK-40s >LC3 >KM-100s >Tascam DR-100mkII (24bit/48khz) w/Internal Preamp And Phantom Power.

iZotope RX6 advanced & Har-Bal 3.7 (prep by Flying -M-)

WAV >Audacity (Track Splits, Down Sample To 16 bit / 44.1khz) >FLAC (Level 8) + Tags Via xACT 2.47

Recording, Audacity, FLAC, Tags, & Rear Cover Artwork Photo By OldNeumanntapr

Post Production Wizardry By Flying M

Disc I:

  1. Intro
  2. Lift Up Every Stone
  3. Real Fine Love
  4. The Open Road
  5. Aces Up Your Sleeve
  6. Perfectly Good Guitar
  7. Crossing Muddy Waters
  8. Cry Love
  9. Is Anybody There?
  10. Long Time Comin’
  11. Master Of Disaster
    [51:20]

Disc II:

  1. Icy Blue Heart
  2. Train To Birmingham
  3. Tennessee Plates
  4. Feels Like Rain
  5. Thing Called Love
  6. I’m In Asheville
  7. Memphis In The Meantime

Encore:

  1. Have A Little Faith In Me

[45:01]

John Hiatt -Vocals, Acoustic Guitars, Electric Piano

The Historic Fremont (Movie) Theater Was Built In 1942

OldNeumanntapr Notes-

The last time that John Hiatt played an acoustic show at the Fremont my first Tascam had an electronic convulsion and I lost most of the show except for two or three songs.

Hiatt is an amazing songwriter and performer and I always enjoy seeing him in concert.
The Fremont has really good acoustics with its curved interior walls.
My hat is off to Flying M for his uncanny ability to get the most out of my recordings with his vast computer processing knowledge.
This recording really shines and actually sounds better than my ears heard the show live!!!
I hope everybody enjoys this one.
I was pleased to hear ‘Memphis In The Meantime’ because for some reason I was humming it at home the night before while I was getting my recording gear ready!

Flying M Preparation Notes-

It was a good workout pulling the audience back and pushing the music forward.
Have gone from end to end 4 times and I keep finding little things to “fix” and it’s been a week now so it’s becoming OCD and I had to stop.
Must have made 500 little repairs removing background noises, some easier than others.

Equalized with Har-Bal to flatten the frequency response reducing the hump in the low mid-range and giving it a little more presence in the top and bottom end.
Resulted in a “fuller” sound with the vocals being brought up making the singing clearer.

The audience exploded between songs so the loudest claps, whistling and whoo-hooing were removed as much as I could.
Coughing sniffing, chatting, singing and other random noises were also removed or minimized.
Finally the applause segments were reduced by an additional 3dB and then the overall amplitude was increased by 12dB.

Acoustic shows are tough to prepare as so many small noises become distracting once the volume is increased as much as this was.
-M-

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

Miles Davis – San Luis Obispo, CA (04/20/90)



Miles Davis
4/20/90
Main Gym
California Polytechnic State University
San Luis Obispo, CA

10th Row Center:
Aiwa CM-30 Stereo Cardioid >Sony WM-D6C,
XLII Master >XLII Cass I >WAV >FLAC

XLII Master Transferred: Toshiba PC-X10 >Sony TC-153SD (Shortly After Show)
XLII Cass I Transferred: Sony TC-D5M >Tascam DR-100mkII (24/48),

WAV >iZotope RX3 Advanced v3.00.695 (declick) > Sound Forge Pro 10.0a (minor edits & normalize) >
WAV >Audacity (Amplify, Track Splits, Down Sample / Dither To 16 Bit/44.1) >FLAC (Level 8) Via xACT 2.35

Recorded, Transferred, Audacity, & FLAC’d By OldNeumanntapr
iZotope RX3 Advanced v3.00.695 (declick) > Sound Forge Pro 10.0a (minor edits & normalize) By Dennis Orr

  1. Perfect Way
  2. New Blues
  3. Hannibal
  4. The Senate-Me And You
  5. Human Nature
  6. In The Night
  7. Mr. Pastorius
  8. Tutu
  9. Jilli
  10. Time After Time
  11. Jo-Jo >Don’t Stop Me Now

Miles Davis – Trumpet, Synthesizer
Kenny Garrett – Alto Saxophone, Flute, Musical Director
Joe Foley McCreary – Electric Piccollo Bass, Vocals
Richard Patterson – Electric Bass, Vocals
Kei Akagi – Synthesizer
Erin Davis – Percussion
Ricky Wellman – Drums

OldNeumanntapr Notes:
This was my very first ‘stealth’ recording, and also the one and only time that I was able to see Miles Davis. My friend Mark is a big Miles fan, and he offered to buy me a ticket if I would record the show. Hey, works for me. 🙂
I remember that we rode to the show with his friend Jay, ‘Lucky’, from Lake Tahoe, and our friend Tim, who was another big music fan, as well as Carol Jo, the ‘Wood Nymph’ from KOTR FM in Cambria. We were 10th row center at the Main Gym at Cal Poly. The sound was pretty good, though Carol Jo talked a bunch to Mark starting midway through the show. At the time, I thought it would rude to tell Mark to have her shut the hell up, because I was getting the ticket for free, and because, not ever having done a stealth show before, I had no idea how much ambient noise the microphone would pick up. At that time I was used to only recording Grateful Dead concerts from the tapers section, with microphones on a stand above head level. I was holding the Aiwa CM-30 right in front of my face for this show, and there were a lot of quiet parts. Listening to the show now, I am remembering that the tape ran out and I missed the last part. (I only brought in one 90 minute cassette. The tape ends with the beginning of another song, but I left that as part of the previous song in the indexes.) The deal I made with Mark was that I would record the show and give him the master, but I copied it for myself after the show that night. The recording would have been much better, had it not been for Carol Jo’s talking, but it is what it is. This recording has really never been circulated, outside of a few friends here on the CA central coast. I’ve had the handbill for this show for years. It was hanging in the window of the liquor store where I worked in Cayucos, CA. I recorded Santana the next week at the same venue, the night of the Cal Poly/SLO Student Riots.

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

Eric Burdon & Robbie Krieger – San Luis Obispo, CA (05/19/90)



Eric Burdon & Robbie Krieger
05/19/90
DK’s West Indies Bar
San Luis Obispo, CA

Aiwa CM-30 Stereo Cardioid >Sony WM-D6C Cassette master >CDR >FLAC

(Recorded, Transferred, FLAC’d, Tagged, & Front-Cover Artwok By OldNeumanntapr)
FOB; Audience Master
Transferred Via: Sony TC-D5M->HHb CDR 800 PRO
CD Master >FLAC (Level 8) Via xACT 2.25
Tags Via xACT 2.53

  1. //See See Rider
  2. It’s My Life >
  3. Don’t Bring Me Down
  4. We Got To Get Out Of This Place
  5. Back Door Man
  6. Roadhouse Blues
  7. Spill The Wine
  8. Boom Boom / Shake Rattle And Roll
  9. I’m Crying

Encore:

  1. Going Back To Memphis
  2. The House Of The Rising Sun

OldNeumanntapr Notes:
DK West Indies Bar was located in Downtown San Luis Obispo on Broad Street, and later was converted into the Big Sky Cafe. I was lucky enough to catch Eric Burdon and Robbie Krieger there both in 1990, and in 1991 when Brian Auger also played with them. It was standing room only for both years, but I was young at the time and didn’t care.

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

Eric Burdon & Robbie Krieger – San Luis Obispo, CA (02/02/91)

Eric Burdon, Robbie Krieger, & Brian Auger
02/02/91
DK’s West Indies Bar
San Luis Obispo, CA

Aiwa CM-30 Stereo Cardioid >Sony WM-D6C Cassette Master >CDR >FLAC

FOB; Audience Master:
Transferred Via: Sony TC-D5M >HHb CDR 800 PRO
CD Masters >FLAC (Level 8) Via xACT 2.25
FLAC Tags Via xACT 2.53

Recorded, Transferred, FLAC’d, Tagged, & Front-Cover Artwork By OldNeumanntapr

Late Show:

  1. I Just Want To Make Love To You
  2. Back Door Man
  3. We Got To Get Out Of This Place
  4. 16 Tons
  5. Elmore’s Blues

Disc II:

  1. Tobacco Road

Encore:

  1. Roadhouse Blues >
  2. The House Of The Rising Sun

OldNeumanntapr Notes:
This was the second year that Eric Burdon and Robbie Krieger played DK’s in SLO, but this time they brought along Brian Auger on keyboards. Burdon was so drunk that night he was screaming about the Gulf War, “They Were Bombing My Home Town When I was Born!”, and he was complaining about how much he hated the song ‘The House Of The Rising Sun’. I recorded the late set, but I had friends who went to both sets. This was the last time that I have seen either Eric or Robbie.

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

Don Henley – Mountain View, CA (10/11/92)

Don Henley
Shoreline Amphitheatre
Mountain View, California
Sunday October 11, 1992

Recorded By OldNeumanntapr from lawn repeater stacks, left side
2 Nakamichi CM-300s w/CP-2 Omnis > Sony WM-D6C using Maxell UDXLIIS cassettes
Transferred: Sony TC-D5M > Tascam DR100mkII (24bit/48khz)

Mastered by Flying -M- (January 2021)
Har-Bal 3.0 & iZotope RX 8 advanced > CD Wave > Korg Aqua (16-44) > TLH (flac level 8)

Billed as “Healing The Sacred Hoop – The Next 500 Years”
A benefit for the International Indian Treaty Council
Sunday’s show also featured performances by Bonnie Raitt, Todd Rundgren, Little Feat, Ry Cooder & David Lindley, Cris Williamson, and Floyd “Red Crow” Westerman

  1. The End Of The Innocence
  2. Reason To Believe
  3. Sweetheart Like You
  4. Best Of My Love
  5. What’s Goin’ On
  6. Same Girl
  7. Chief Joseph
  8. Lonely Weekends
  9. What A Wonderful World
    Encore:
  10. The Heart Of The Matter
    [52:36]

Recorded By OldNeumanntapr From Lawn Repeater Stacks, Left Side
Nakamichi CM-300s w/CP-2 Omnis > Sony WM-D6C Cassette Master
XLIIS Master Transferred: Sony TC-D5M > Tascam DR100mkII (24bit/48khz)

Mastered by Flying -M- (January 2021)
Har-Bal 3.0 & iZotope RX 8 advanced > CD Wave > Korg Aqua (16-44) > TLH (flac level 8)

OldNeumanntapr Notes-
These performances were Bill Graham’s last big festival that he was working on before he died the previous year. I’m sorry that he never lived to actually see them performed. On the surface it seemed these benefit concerts were held to commemorate the 500 year anniversary of Columbus ‘discovering’ the new world. 1492-1992. Actually, it was more to open people’s eyes to the suffering and misery that the Native American people have endured during that 500 year history. One of the Native American speakers between sets commented, “Why do we celebrate Columbus? He was LOST!!” Santana headlined on Saturday and Bonnie Raitt headlined on Sunday. Saturday was billed as ‘The Good Road Concert” and Sunday was billed as ‘Healing The Sacred Hoop’. I remember that between songs, Bonnie remarked that there were a bunch of young girls trying to get into John Lee Hooker’s dressing room. “That’s what I call ‘Healing The Sacred Hoop'”, she said. They were awesome shows. Some of the sets were kind of quiet and have more crowd noise on the recordings than I would have liked. I’m kind of amazed that there are not more recordings of these shows out there. I recorded both days up on the lawn with Nakamichi CM-300s with CP-2 omni capsules->Sony WM-D6C. The music went on from about 3pm to around midnight, so bringing in enough blank tape was a major problem. Another big problem was that since the shows started so early in the afternoon it was nearly impossible to hide recording equipment in broad daylight. I rode up to the shows with my friends Dave and Brian and it wasn’t until I was putting my equipment together in the back seat of the car that I discovered that I had the CP-2 omni capsules on the mics instead of the CP-1 cardioid caps. I was really upset because the omnis add a lot more crowd noise because they lack the side and real isolation that the cardioids have. I had been recording a band in a bar back home the night before and we did a matrix mix with a feed off of the soundboard plus the two CM-300 omnis that were hung from the ceiling.

I got everything in OK on Saturday but Sunday I had a problem. (This saga became one of my best ever taping stories in the years to come!) Because it was kind of cold at night I had brought extra clothing to both stay warm and conceal equipment. I had taken a long-sleeved flannel shirt and wrapped up the mics and knotted the sleeves together. I hid the D6 and cables and a couple of tapes with an ace bandage wrapped around my crotch and had no other option but to put the mics at the bottom of a backpack with misc. crap on top of it. I looked for a line with a security guy that seemed to be doing a minimum of searching and had Dave and Brian go through the turnstiles ahead of me. At the last second a supervisor took over my line just as I stepped up to the search. My heart kind of did a double beat but I hoped for the best. I always relied on the old magician’s sleight-of-hand trick of showing them what you wanted them to see while at the same time distracting them from what you wanted to hide. While my friends went through the turnstiles the supervisor was rummaging around in my bag and felt the mics wrapped up in the shirt. “What’s This?,” he wanted to know and stopped the line. I had to think fast as he was trying but could not untie the knots on the shirt. “It’s a beer bottle,” says I, after the other guy had already torn my ticket. He pulled me out of line and, yelled at me,”You can’t bring that in here!” I stepped out of line and said that I’d get rid of it. Meanwhile, Dave looked back and saw what was going on. I put my hand up in the air palm up and he tossed the car keys to me over the top of the turnstiles. I went back to his car, opened the trunk, and took out two blank cassettes from under my ace bandage and left them in the car. I unwrapped the mics and shoved them down next to the tape deck under the ace bandage and hoped for better luck! When I went back I picked a different line and got through without a problem. The usher at the gate did a double take when he saw that the ticket had been torn already and then signed off on the back by the supervisor. He asked me about it and I said, with my best ‘dumb-guy’ look, that they had found a beer bottle on me and made me go and get rid of it. What did he say? You guessed it! “You can’t bring that in here!!!!” Yeah, yeah, yeah.

Dave found me inside as I was making my way to the lawn and asked me about it as I gave him back his keys. I told him I had to lighten the load a bit and had to leave some tape behind. “I guess I just won’t tape Don Henley,” I said. “Oh you’ve Got to tape Henley,” he said. Later on, about 5 minutes before Henley came on stage, I looked up to see Dave drop two blank tapes in my lap. “How in the hell did you get Those??” I asked. He said that he had gotten cold and asked the people at the gate if he could go out and get his sweatshirt! Naturally, he had another thought in mind as well. I laughed and shook my head. That’s my story and I’m sticken’ to it! That’s the closest I’ve ever come to getting caught taping.

Once night fell, I could get the mics up higher and make a better recording, but in broad daylight I had no other choice but to sit on the ground under the repeater towers and build a little pile of clothing on top of my backpack. I hid the mics in the sleeves on the shirt and ran the mic cables back to the backpack where the D6 was. I need to transfer these cassettes to CDR. Some will sound better than others.

The music was pretty good. I couldn’t see much of the stage, especially in the daytime, because the view screens were not on. I remember that the Hooker / Cooder set and the Lindley / Cooder set was kind of quiet. Those sets have more crowd noise on them, plus the omni caps sure didn’t help matters. It would have been nice to have the shotguns but they are a little noticeable!

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

Thanks go out to Professor Goody for verifying the pitch on this recording.
Jewel box artwork by ethiessen and it looks so nice, a million thanks for the beautiful covers.

Finally, thanks to OldNeumanntapr for trusting me with his recording and waiting forever for me to finish this.

For historical reference only and not intended for resale or any commercial use

Enjoy…
-M- (January 2021)

FLYING M PRODUCTIONS

Arlo Guthrie – Arroyo Grande, CA (04/08/15)

Arlo Guthrie
Forbes Hall
The Clark Center for the Performing Arts
Arroyo Grande, CA
April 8, 2015

16 BIT

Neumann AK-40s (ORTF In Hat) > LC3 > KM-100s > Beyer MV-100 > Tascam DR-100mkII @ 24 bit/48 kHz

Mastering: .WAV’s > iZotope RX3 Advanced v3.00.695 (declick) > Sound Forge Pro 10.0a (minor edits, normalize, & fades) >
WAV >Audacity (Track Splits, Down Sample / Dither To 16 bit / 44.1k) >FLAC (Level 8) via xACT 2.35) >FLAC Tags Via xACT 2.35

Location: 7th row, Center Section, three seats in from left-side aisle
Recorded, Audacity track splits / down sample, FLAC, tags, & front-cover artwork by OldNeumanntapr

Mastered by: Dennis Orr

Set I:

  1. Motorcycle Song
  2. talk / band intros
  3. Chilling Of The Evening
  4. talk
  5. Darkest Hour
  6. talk
  7. Me And My Goose
  8. talk
  9. Ocean Crossing
  10. Last Train
  11. Pig Meat Papa*
  12. talk / Wavy Gravy story, Woodstock story, Checker cab story
  13. Coming Into Los Angeles

Set II:

  1. Alice’s Restaurant
  2. talk
  3. St. James Infirmary**
  4. talk
  5. Hear You Sing Again***
  6. City Of New Orleans****
  7. talk
  8. Highway In The Wind
  9. This Land Is Your Land***
  10. talk
  11. My Peace^*
  • Leadbelly, circa 1935
    ** Cisco Houston
    *** Woody Guthrie
    **** Steve Goodman
    ^* Words By Woody Guthrie, Music By Arlo Guthrie

Arlo Guthrie – lead vocals, guitars, & keyboards
Abe Guthrie – keyboards
Bobby Sweet – lead guitar & violin
Terry A La Berry – drums

OldNeumanntapr Notes:
I hadn’t seen Arlo in almost 17 years, since he played the old Cuesta College Auditorium in San Luis Obispo. I noticed right away that Arlo appeared to have lost weight since the last time I’d seen him. His voice was a little craggy, which he attributed to being sick.

The night before the show I burned CD’s of the two previous Arlo shows that I had recorded (3/23/91 Ventura Theater and 10/23/98 Cuesta College), in hopes of giving them to Arlo. I wasn’t sure if he would meet folks after the show, like he did at Cuesta in ’98, so luckily I was able to stop by the back doors of the Clark Center at around 3 pm. I was able to give the discs to Arlo’s bus driver and he said that he would pass them along.

My friend Dave bought four tickets back in November or December, when they went on sale, so I knew I had a good reserved seat waiting. Even though Arlo is reputed to allow taping, I decided to go stealth because it would be easier. Plus, my seat was about 10 feet or so in front of the board, which is where I figured to set up if I went the open taping route.

I wasn’t sure the venue would allow me to bring in a mic stand, and even if they would have I thought the possibility was high, being it was a sold out show, that someone in the back would complain that my microphones were blocking their sight lines. When we walked out after the show I noticed that Arlo’s sound crew had brought in their own mixing board and lighting gear, and the house board was covered up in the spot where I had set up before, for Dark Star Orchestra in 2007. So, it was a good decision to run stealth. Fortunately the crowd around me was very quiet. One guy behind me coughed a couple of times but it wasn’t intrusive. There was a baby that cried once or twice during the second set but fortunately it was way in the back of the hall.

Being a multi-media presentation, Arlo opened the first set with a claymation video of the Motorcycle song, complete with Arlo as a pickle riding his Honda and falling off the cliff and smashing the police car. The band came out, in the dark, while the short film was playing, and synched their playing with the film soundtrack. There was also a cartoon later depicting a little boy and his pet goose, which Arlo used to highlight a children’s song about the goose being cooked and eaten for dinner. ‘Coming Into Los Angeles’ closed the first set, which is a favorite of mine.

The second set opened with ‘Alice’s Restaurant’, with four part harmony and full orchestration. 😉 Arlo had film clips from the 1969 film ‘Alice’s Restaurant’ playing behind the band during this part of the show. He remarked to the crowd that Officer Obie, as well as the judge, were real people playing themselves and were not actors. Arlo said that Obie told him when the film was being made that if anyone was going to make a fool out of him he should do it himself. He said that he and Obie actually developed a friendship that lasted until the officer’s death.

Arlo played ‘The City Of New Orleans’, which was written by Steve Goodman. He mentioned that Goodman wanted him to pass the song on to Johhny Cash but Cash wasn’t interested, having done a recent trains album. ‘That was fortunate for me,’ Arlo said. He also played ’St. James Infirmary’, which I don’t know if I have heard before.

Arlo played a plethora of acoustic guitars, including a 12 string that seemed to be electric/acoustic, which had a sound hole that was high up in the front corner of the body. He fiddled with one acoustic six string guitar which needed some adjustments and remarked to the crowd, ‘Funny, I tuned it last year.’ He also played keyboards. His son Abe played keyboards and he had a lead guitarist who also played violin. His drummer was surrounded by a clear Plexiglas sound containment wall.

All in all it was a good concert evening in a really small intimate theater. The theatre at the Clark Center holds a little over 600 people.

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

Allman Brothers Band – Paso Robles, CA (08/05/96)

Allman Brothers Band
8/5/96
Grandstands
California Mid-State Fair
Paso Robles, CA

SEC. 5, Row B, Seat #4 (2nd Row, Left)
Nakamichi CM-300 CP-2 Omnis >Sony TCD-D7 (Stealth)
DAT Master Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o,
CD Masters >FLAC (Level 8) Via xACT 2.35 >FLAC Tags Via xACT 2.53

(Recorded, Transferred, FLAC’d, Tagged, & Front-Cover Artwork By OldNeumanntapr)

Disc I

  1. Statesboro Blues (fades in)
  2. Midnight Rider
  3. Blue Sky
  4. You Don’t Love Me (fades in)
  5. What’s Done Is Done
  6. Worried Down With The Blues
  7. True Gravity >

Disc II

  1. Drums >
  2. Bass Solo >True Gravity
  3. The Same Thing
  4. Dreams
  5. End Of The Line
  6. One Way Out

OldNeumanntapr Notes:
This was a stealth recording because the fairgrounds would NOT allow a recording to be made, even though the band allowed it. I purchased tickets that were directly under the left PA stack, as the crowds at the fair shows are usually drunk and unruly. This was the night that Dickey went to the hospital midway through the set so the band had to improvise with lots of long drawn out jams. You got the feeling the band was really flying by the seat of their pants after Dickey was taken away. It was like, ‘OK guys, NOW what do we do?’ The show must go on! I believe that my recording was the only one made that night. I’ve never seen another source for this show, and most of the tapers were still in Colorado for the ABB Red Rocks shows that had just taken place the previous weekend. As usual, the Mid State Fair crowds were drunk and obnoxious. (I wanted to be as close to the PA stacks as possible!) I used the omni capsules because I had the microphones hidden in a Levi jacket with just the capsules protruding from the front pockets, and they were pointing straight up. (There was really no way to ‘aim’ them’ so proximity to the PA was key.) This was my standard stealth set up at the time. The jacket had holes sewn into the bottom of the front pockets and I used hollowed out 35mm film can lids that went around the microphone bodies to keep the weight of the microphones from falling through the pockets. Custom shortened XLR >RCA cables were used to link with a standard RCA >Mini Y cable that ran into the mic input on my D7.

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

The Rolling Stones: From the Vault – L.A. Forum (Live in 1975)

cover art

I know for many of you my movie/Blu-ray/book/whatever reviews are not the primary reason you come to this site. At a guess, I’d say there are quite a few of you who wish I’d stop writing them. This site used to be about the music, man, I can almost hear you say.

I appreciate that you all tolerate these things, and never complain.

For once I’ve got a review that is about the music, man. The Rolling Stones have released quite a few concerts on video in their From the Vault series over the years. I got a couple of them to review a while back and here’s one of them.

I’m not by any means a Stones superfan. I definitely can’t break down their discography or which years are best in terms of performances. But I dug the hell out of this show as you can see from my review.