Tag: san luis obispo

Big Bad Voodoo Daddy – San Luis Obispo, CA (04/01/16)

Big Bad Voodoo Daddy
Fremont Theater
San Luis Obispo, CA
April 1, 2016

Recorded & Tagged By OldNeumanntapr
4th Row, Left: Neumann AK-40s (ORTF in Hat) >LC3 >KM-100s >Beyer MV-100 >Sony PCM-M10 (24bit/48khz) >Audacity (16bit/48khz) FLAC

Post Production by Flying -M-
iZotope RX4 advanced > Har-Bal 3.0 > CD Wav > TLH

FLAC Tags Redone Via xACT 2.37 Due To Misspellings, And New FFP Files & Checksums Added.

Disc 1

  1. Introduction by Corey from Good Medicine Presents
  2. Zig Zaggity Woop Woop
  3. Simple Songs
  4. Digga Digga Do
  5. The Jitters
  6. [interlude] Scotty talks to the crowd
  7. Save My Soul
  8. Mr. Pinstripe Suit
  9. Hey Now
  10. Reefer Man

Disc 2

  1. Minnie The Moocher
  2. Jumpin’ Jack
  3. I Wan’na Be Like You
  4. You Know You’re Wrong
  5. Big Time Operator
  6. You Me And The Bottle Makes Three Tonight
  7. Go Daddy-O
  8. encore call
  9. Why Me
  10. So Long Fair Well Good Bye

Scotty Morris – lead vocals and guitar
Kurt Sodergren – drums and percussion
Dirk Shumaker – double bass and vocals
Andy Rowley – baritone saxophone and vocals
Glen “The Kid” Marhevka – trumpet
Karl Hunter – saxophones and clarinet
Joshua Levy – piano, arranger
Tony Bonsera – trumpet
Alex “Crazy Legs” Henderson – trombone

The Tipsy Gypsies Opened
The Historic Fremont (Movie) Theater Was Built In 1942

OldNeumanntapr Notes;
The show was awesome and we were 4th row on the left.
Everything went really well and I was able to set levels right on the money.
Genéte, who is a Huge BBVD fan, took photos with her iPhone and actually got some pretty good results. After the show she bought a poster and waited in line so all of the band could sign it.
She had a Great time and was really happy that she went.

I had thought that I would be directly in front of the left PA stack, but when we got into the theater I saw that they had hung the PA cabinets closer together than I would have imagined, so I was actually a little left and off axis from the left stack.
The opening band, which I didn’t record (they were a local SLO County band) sounded like there was a bump in the frequency response. Fortunately, BBVD sounded really good and there was no hint of that previous anomaly.

I only had One obnoxious clapper to my left, either behind me or further down my own row. (I made sure that Genéte was quiet, no easy feat.) 😉

We were so close to the stage that I could hear the horns onstage as well as being amplified through the PA. Fortunately we had really lucked out when we made or seating decisions, because we were on the left and so was the horn section! The piano and stand up bass were on the right, and Scotty, the lead singer was in the center.

The last time I saw these guys was when they played a free show at the Paso Robles Mid-State Fair in 2001. I had never heard of them but Genéte was really into them and I remember being impressed with their sound.

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

Flying M notes:
never heard this band before, wow.
A very nice sounding recording and I found the guy you wanted “erased”.
His hand was cupped creating a very loud finger snapping sound.
Verses a more petite slapping of 4 fingers on a palm which makes more of a tick (try it yourself).

Kind of addictive once you get used to hearing your tapes without loud claps.
If it only didn’t take sooooo long to do.
As normal when I went back the third time I found even more of that guy.
I wonder how many times an enthusiastic clapper “claps’ during an hour and a half concert?
Well that’s how many repairs this has, times maybe 2 (to include other neighbors).

Har-Bal uses an interesting form of equalization called harmonic balancing.
The theory is to balance the power across the frequency spectrum and you get additional clarity.
OK I am real new at this and it is not a simple procedure to get it right.
You might enjoy the added shimmer and increased volume.
The hidden music buried in the quiet spots are louder now adding more detail.
No limiting but more like riding the volume knob up and down.
So the quiet places are not as quiet.
An old studio trick.

Big Bad Voodoo Daddy – San Luis Obispo, CA (11/27/24)

Big Bad Voodoo Daddy
11/27/24
Christopher Cohan Center
Cal Poly University
San Luis Obispo, CA

‘Holiday Extravazanza’

6th Row, Just ROC;
Neumann AK 40s >LC3 >KM100s* >Beyer MV-100 >Tascam DR100mkII (24bit/48kHz)
(-10db pads engaged)*

Prep: Har-Bal 3.7 & iZotope Rx8 advanced (Flying -M-)

WAV >Audacity (Track Splits, Down Sample To 16bit/44.1kHz) Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.53

Recorded, Audacity, FLAC, Tags, & Front Cover Photo / Artwork By OldNeumanntapr
Additional Band Photos By Taper’s Wife

Disc I:

  1. Intro
  2. Rock-a-Billy Christmas
  3. Santa Claus Is Coming To Town
  4. Rudolph The Red Nose Reindeer
  5. Talk
  6. You And Me And The Bottle Makes Three >
  7. I Wanna Be Like You
  8. Merry Christmas Baby
  9. Snow Miser And Heat Miser
  10. Minnie The Moocher
  11. Mr. Pinstripe Suit >
  12. King Of Swing

Disc II:

  1. Talk
  2. Christmastime In Tinseltown
  3. Frosty The Snowman
  4. We Three Kings
  5. Talk
  6. All I Want For Christmas (Is My Two Front Teeth)
  7. ‘Zat You, Santa Claus?
  8. Run Rudolph Run
  9. Encore Break
  10. Walkin’ In A Winterland (encore)
  11. Why Me? (encore)
  12. Go Daddy-O! (encore)

Scotty Morris – lead vocals and guitar
Kurt Sodergren – drums and percussion
Dirk Shumaker – double bass and vocals
Andy Rowley – baritone saxophone and vocals
Glen “The Kid” Marhevka – trumpet
Karl Hunter – saxophones and clarinet
Joshua Levy – piano, arranger
Tony Bonsera – trumpet
Alex “Crazy Legs” Henderson – trombone

OldNeumanntapr Notes;
My wife is a huge Big Bad Voodoo Daddy fan, and when she told me that she was buying tickets for the Holiday Extravaganza I told her that I would be sure to do my best to see that it was archived. The Christopher Cohan Center is a beautiful performing arts theater on the Cal Poly university campus and it seats around 1,300 people and has curved interior walls to reduce audio standing waves. The acoustics are perfect, and we were upfront in the sixth row, almost center. Because of the close proximity to the stage I was getting a lot of direct sound from the horns which blended perfectly with the overhead PA vocals and the piano, bass, etc.
I hadn’t seen, or recorded, BBVD since the Fremont Theater show in SLO in 2016 so I was psyched to see them again. They are such an awesome big band with all the horns, and Scotty really steers the ship as the band leader and lead vocalist. I thought it was funny when Scotty told the crowd between songs that the biggest request that they received for the Holiday Extravaganza was to ‘Please don’t play just holiday music!’ Too funny! I was relieved to hear this because in the car on the way up I told my wife that I really wanted to hear Big Bad Voodoo Daddy classics like ‘Mr. Pinstripe Suit’, and she assured me that it would be, ‘Just Holiday songs’. All I can say now is ‘Nay’!!!! 😉 I loved hearing the band ‘swing’ through the holiday classics and the fact that they played some of their own classics was icing on the cake! I also really enjoyed hearing Scotty’s humorous stories, like when he thought that he had been pickpocketed by Santa, or when his young daughter requested her favorite holiday song. ‘All I want For Christmas Is My Two Front Teeth’ and he agreed to do it for her.

Thanks so much to Flying M for his post production ‘Fairy Dust’ that he does with his mad scientist computer programs. This recording really shines now because of his work.

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

John Prine – San Luis Obispo, CA (09/25/04)

John Prine
9/25/04
Christopher Cohan Center
Cal Poly State University
San Luis Obispo, CA

3rd Row Center:
Neumann AK-40s (x/y) >LC3 >KM-100s >Beyer MV-100 >SBM-1 >TCD-D8
DAT Master Transferred: Tascam DA-P1 >HHb CDR 800 PRO Via Analog i/o.
CD Masters >FLAC (Level 8) Via xACT 2.37

(Recorded, Transferred, FLAC’d, Tagged (Via xACT 2.53), & Front Cover Artwork By OldNeumanntapr)

Disc I:

  1. //Spanish Pipedream
  2. Your Flag Decal Won’t Get You Into Heaven Anymore
  3. Six O’Clock News
  4. Souvenirs
  5. Fish And Whistle
  6. Grandpa Was A Carpenter
  7. Taking A Walk
  8. All The Best
  9. Angel From Montgomery
  10. Long Monday
  11. Donald And Lydia
  12. The Bottomless Lake
  13. Crazy As A Loon
  14. That’s The Way The World Goes ‘Round

Disc II:

  1. Sam Stone
  2. Bear Creek
  3. That’s Alright By Me
  4. Ain’t Hurtin’ Nobody
  5. Sins Of Memphisto
  6. Hello In There
  7. Lake Marie
  8. Sweet Revenge
  9. Some Humans Ain’t Human

Encore:

  1. Paradise

OldNeumanntapr Notes:
This was the last time that I have recorded John Prine, and the show took place not long after Prine’s throat surgery so his voice sounds a little raspy. It was a good show however. This was the first time that I saw him do the Flag Decal song. This was also the first time that I saw him do ‘Taking A Walk’, ‘Crazy As A Loon’, and ‘Some Humans Ain’t Human’, which was a song about George W. Bush that was funny. The Cal Poly Performing Arts Center is always a good place to see / record a show because it’s a small venue with excellent acoustics, and had minimal security other than elderly ushers.

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 (03/11/16)

John Hiatt
3/11/16
Fremont Theater
San Luis Obispo, CA

Solo Acoustic

5th Row DEAD Center:
Neumann AK-40s (ORTF In Hat) >LC3 >KM-100s >Lunatec V2 (+25db Gain) >Tascam DR100mkII (24bit/48khz)

WAV >Audacity (Normalize, Amplify, Track Splits, Down Sample To 16bit/44.1khz) >FLAC (Level 8) + Tags Via xACT 2.37

FRAGMENT!!!

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

  1. //Like A Freight Train
  2. Marlene
  3. Crossing Muddy Waters
  4. Ethylene
  5. Buffalo River Home//

OldNeumanntapr Notes-
This was all I was able to salvage from this recording after my 1st Tascam DR100mkII suffered an extreme electronic meltdown. (As I was setting up in the stall, the Tascam slipped out of my pack while on my lap and partially fell into the water of the toilet, before I could grab it.) Just a corner of the recorder got wet and it might have been OK if I would have had the time to let it thoroughly dry out, but the show was about to start and I had no recourse but to try and use it. This show would have yielded such a killer recording, it’s really a shame that it didn’t work out. Placement in the theater was superb, the crowd was quiet, and the sound was awesome. My Friend Dave’s friend Rick Williams was recording in the seat next to me on the right and he captured the entire show on his Edirol R09 with the internal microphones. Though his recording is good it doesn’t match the sound of the Neumanns / V2. I asked him if I could use his Edirol in place of my Tascam but he had never used the line out and didn’t know how to go through the menus to change the input setting, especially in the dim light of the theater. I really had high hopes for this show and I was crushed to not be able to capitalize on such a great night. The Lunatec V2 is an extremely high end microphone preamp, but it’s almost impossible to use covertly as it is large and requires a separate 6 volt rechargeable battery, but has awesome sound! Just getting this rig through the doors was no easy feat. I waited through a few songs before turning it on to record and it lasted through a few songs before the display started freaking out and it just died. At least I got a couple of songs reordered to actually hear what a difference the Lunatec V2 makes as compared to my Beyer MV 100. Some shows that I have done resulted in ‘the thrill of victory’, but this night was definitely in ‘the agony of defeat’ column.

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

Santana – San Luis Obispo, CA (04/28/90)

Santana
4/28/90
Mott Gym
Cal Poly University
San Luis Obispo, CA

8th Row Center
(Recorded, Transferred, Mastered, FLAC’d, Tagged (xACT 2.53) & Front Cover Artwork By OldNeumanntapr) [Files Tagged, & Artwork Added 10/2024]

Aiwa CM-30 Stereo Cardioid >Sony WM-D6C (w/Dolby B) [TDK MA 110]
TDK MA-110 Master Transferred: Sony TC-D5M >Tascam DR-100mkII (24/48) w/Dolby B Engaged,
Right Channel Only transferred Through Y Cable To Duplicate Into Two Mono Tracks. WAV >Audacity (Split ‘Stereo’ Track To Mono, Added 30 Milliseconds Of Silence To The Beginning Of Left ‘Pseudo-Stereo’ Track to Approximate The Effect Of Stereo, [See Further Notes Below As To Why This Was Done], Track Splits, Minor Edits, Down Sample / Dither To 16 Bit 44.1k

xx. Spirits Dancing In The Flesh*
xx. Somewhere In Heaven*
xx. It’s A Jungle Out There*
xx. Soweto (Africa Libre)*
xx. Batuka/ No One To Depend On*
xx. Gypsy Woman*
xx. Mother Earth*

  1. Blues For Salvador**
  2. Black Magic Woman/Gypsy Queen
  3. Oye Como Va
  4. We Don’t Have To Wait
  5. Savor (Percussion Solo)
  6. Choose
  7. She’s Not There
  8. Soul Sacrifice
  9. Europa
  10. Keep On Running/Band Intros

Encore:

  1. Somewhere In Heaven
  2. Peace On Earth

*Not Recorded
**Only last 90 seconds recorded

54.41 – Edit point between side A and side B.

OldNeumanntapr Notes; [2015]
I remember this one well. It was only my second stealth show, the first being Miles Davis at Mott Gym at Cal Poly the week before. I had some minor problems, the first being that I accidentally left my pause button engaged for the first part of the show. When I was getting ready for what I thought would be the first flip, I happened to feel the pause button was still pressed in when I touched the deck. I was pissed, after having checked levels repeatedly. (They looked great, in the dark.)

Another problem was that the CM-30 that I had used had a low level rumble in the right channel. There was something amiss in the microphone’s electronics on that channel, and I later replaced it with another CM-30. As D6 owners will no doubt remember, the D6 recorders had a one-knob level control and had only one row of LEDs for the meter, which would show the highest channel. The recorders were not adjusted at the factory and usually had one channel higher or lower than the other. I eventually had mine calibrated by a tech, but in 1990 I had only had it about a year and a half so it was still unbalanced. Being that I was running metal tape, I wanted to push the levels a bit more than normal. Unfortunately, the left channel was too hot and suffered from some distortion. The right channel, recorded at a little lower level, was better, though the right channel was the bad channel on that particular Aiwa CM-30. (During the quiet parts you can hear the low level rumble in the mic, but fortunately at this show there were not that many quiet parts and we were up front in the 8th row. I wish I would have had better mics, but I hadn’t yet bought the Nakamichi CM-300s. That wouldn’t happen until summer of ’90.

So, I transferred the tape with my D5 to my Tascam DR-100mkII, engaging the Dolby B circuits on playback, and used a Y cable to duplicate the undistorted right channel into dual mono. Then I took it into Audacity and added 30 milliseconds of silence to the start of the left (psuedo-stereo) channel to approximate the sound of a stereo delay. It actually doesn’t sound half bad.

I can’t believe that the 25 anniversary of this show was last Tuesday. The night that Santana played was the night of the infamous Cal Poly / San Luis Obispo student riots, and was what caused Poly Royal, the university’s open house celebration, to be cancelled after 50 years. It was quite a shock to see all the police in riot gear swarming around the Cal Poly campus after the show. We were dumfounded, until we saw the news later. Stupid drunk college kids rioting over nothing.

This recording is most likely the only one from this show, though as always mileage may vary and you can never say never or only. Still, I’ve never seen another one. It actually doesn’t sound half bad. I was able to get rid of the distortion from the left channel and by adding the 30 milliseconds of delay (Thanks for the tip Dennis!) it sounds a lot better than a flat monaural recording would. Still, I can’t do anything about the missing first part of the show. At least I came away with something. (About a minute after the tape starts you can hear my friend Tim lean in and say, ‘Did you bring the weed in? I should have brought some in. Everyone’s smoking’ Too funny!)

I never traded this show before, because of the flaws, so it is uncirculated. I think it sounds a lot better now after doing the work in Audacity. I found out that BOTH of the posted set lists to this show (Setlists.com and Santana’s own website) were incorrect. With a little help from my friends I was able to identify the missing tracks. Of course, I have no way of accurately knowing if the first half of the show’s previously posted set list is correct, as my tape recorder was not running for that portion.

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

Postmodern Jukebox – San Luis Obispo, CA (11/22/24)

Postmodern Jukebox
11/22/24
Fremont Theater
San Luis Obispo, CA

8th Row Center SEC, Near Right-Side Aisle;
Neumann AK 40s >LC 3 >KM 100s >Tascam DR100mkII w/Internal Preamp & Phantom Power (24bit/48kHz)

WAV >Audacity (Amplify By 8.4db, Index Tracks, Minor Compression, Minor Edits, Fades, Down Sample To 16bit/44.1kHz) >FLAC (Level 8) + Tags Via xACT 2.53

Recorded, Transferred, FLAC, Tags, & Front Cover Artwork By OldNeumanntapr
Photos, Including Front Cover, & Setlist By Taper’s Wife Genéte

Disc I:

  1. Thriller
  2. talk
  3. Lovesong
  4. 50 Ways To Leave Your Lover
  5. It Must Have Been Love
  6. Radioactive
  7. Tap Dance Ensemble – various tunes
  8. Burn
  9. Band Intros
  10. Late Night Talking
  11. The Chain

Disc II:

  1. Hallelujah
  2. Tap Dance Ensemble – various tunes
  3. Rude
  4. Use Somebody
  5. Guitar Solo
  6. Say You’ll Be There
  7. Black Hole Sun
  8. Levitating
  9. All About That Bass
  10. encore break / talk

Encore:

  1. I Still Haven’t Found What I’m Looking For
  2. Creep
  3. outro

No Scott Bradlee, Hayley Reinhart, or Casey Abrams

OldNeumanntapr Notes;
This was a show that my wife Genéte bought tickets for because she is really into the band and had never seen them. Because we got tickets about a week before the show the only seats we could get up front were in two separate rows but I was sitting directly behind her. Her iPhone has a better camera and she was the one who wanted to see the show so she took the seat in the row ahead of me. It worked out well for me because I didn’t have to worry that she would try to talk to me during the recording. I was impressed with PMJ’s showmanship, and the lady singers had some great costumes! We were both confused because Scott Bradlee, the band leader and piano player, was absent from the show and they had someone else playing in his place. Genéte and I were both blown away with drummer Willie Ray Moore Jr’s voice, who sang ‘Black Hole Sun’, which was so light and airy and so totally incongruous to his large size. I was sure that he was going to have a deep voice. I thought it was funny that one of the female vocalists was having trouble with her vocal mic during the encore and she exclaimed to the audience, ‘Live theater!’ and a stagehand had had to fix it. I love seeing shows in the old Fremont Theater, which was built in 1942 and was recently converted from a movie house to a performing arts theater. Genéte wasn’t happy with me because she wanted us to dress up for the show and she said I looked like a bum because I was wearing my taping clothes, but hopefully when she listens to the recording she will understand that for me it’s function over form. As the house lights came up and we started to walk up the aisle, right at the end of the recording, you can hear Genéte fussing at me for not sitting next to her during the show. (The aisle seat was empty all night. in both of our rows.) I said to her, ‘I don’t want to be on the aisle’, and she exclaimed, ‘Oh Brother.’ After the show we walked to a little Mexican restaurant on Chorro St. that was right next to Bull’s Tavern where Mission News once was. They had Mission Plaza all decked out with holiday lighting which looked really cool. One nice thing about having dinner after the show in SLO was that we were able to wait out the 11:00 PM closing time for the downtown parking garage. Otherwise it would have been an $8.00 fee!

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

Widespread Panic – San Luis Obispo, CA (05/24/95)

Widespread Panic
5/24/95
Veteran’s Hall
San Luis Obispo, CA

Source: FOB: Nakamichi CM-300’s w/CP-1 Cardioids > Sony TCD-D7
Lineage: M-DAT > Tascam DA-30 > HHb CDR 800
Location: FOB/DFC/8’stand
Recorded/Transferred: OldNeumanntapr
Extraction (CDR >EAC >WAV# >FLAC): Brad Foster
Tagging: FLAC Tags Via xACT 2.37 OldNeumanntapr
Front Cover Artwork: OldNeumanntapr

(Original files uploaded by Brad Foster were not tagged.)

Disc 1: [01:00:13]
Set One

  1. Let’s Get Down To Business >
  2. Travelin’ Light
  3. Jack
  4. Better Off
  5. Send Your Mind
  6. Pigeons
  7. Pickin’ Up The Pieces
  8. Driving Song >
  9. Porch Song >
  10. Driving Song

Disc 2: [01:19:04]
Set Two

  1. Ain’t Life Grand
  2. Diner >
  3. Rock
  4. Henry Parsons Died
  5. Little Kin >
  6. Nobody’s Fault But Mine >
  7. Makes Sense To Me >
  8. Papa Legba
  9. Can’t Get High >
  10. Love Tractor

Encore:

  1. Red Beans

I split Diner > Rock on Disc 2 via CDWav, these were originally one track. -bf

OldNeumanntapr Notes-
[This is a foot note to the text file that my friend Brad created. I sent this show to him a few years ago on CD and he did the extractions, FLAC conversion, and sent it out. So I guess this could be considered a reseed.] This was the second show that I recorded with my Sony TCD-D7. I had just purchased it in early May and tried it out by recording Dick Dale at SLO Brewing Company in San Luis Obispo on 5/10/95. I’d been to the SLO Vets’ Hall many times to see shows put on by the SLO Blues Society, and I know this room very well. I was blown away by the amount of sound gear that Widespread Panic brought into the building, and equally blown away with the quality of the sound. I set up my Nakamichi CM-300s w/CP-1 Cardioid capsules on an 8-ft stand FOB dead center, right under the chandelier. We were right in the center of the ‘dance’ floor and had to guard the mic stand all night, but it was well worth it. The band Mother Hips opened, but I did not record them as I only had two 90 minute DAT blanks. There was one other tape deck patched into me that night but it was a cassette and not a DAT. I have the only digital master of this show. I’m not that familiar with their music all that much but I loved the opener, ‘Let’s Get Down To Business’ > ‘Travelin’ Light’. It had a great beat with really good drums. I’m surprised that more people haven’t requested this show from me because it really sounds nice.

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

Lyle Lovett & Robert Earl Keen – San Luis Obispo, CA (12/04/18)

Lyle Lovett & Robert Earl Keen
December 4, 2018
Fremont Theater
San Luis Obispo, CA

15th Row Center, Right Side Aisle: Nyquist Omni’s >Tascam DR100mkII (24bit/48khz)

WAV >iZotope RX 6 Advanced & Har-Bal 3.0, Down Sample To 16bit/44.1khz >Audacity (Track Splits,) >FLAC (Level 8) + Tags Via xACT 2.47

Recording, Audacity / FLAC, & Tags By OldNeumanntapr

Post Production by Flying -M-
iZotope RX 6 advanced & Har-Bal 3.0

Exterior Fremont Theater Photos By OldNeumanntapr
Band Photo By Dave
Assembled Artwork By Flying -M-

Disc I:

  1. Introduction
    talk
  2. Record Lady (Lyle)
  3. I’ll Go On Downtown (Robert)
    talk
  4. I’ve Been To Memphis (Lyle)
    talk
  5. Village Inn (Robert)
    talk
  6. Once Is Enough (Lyle)
    talk
  7. Ride (Robert)
    talk
  8. Cowboy Man (Lyle)
  9. Merry Christmas From The Family (Robert)
    talk
  10. Rolling By (Lyle & Robert)
  11. Mr. Wolf And Mamabear (Robert)
    talk
  12. Bears (Lyle)
  13. I’m Comin’ Home (Robert)
    talk

Disc II:

  1. Nothing But A Good Ride (Lyle)
    talk
  2. Crazy Cowboy Dream (Robert)
  3. That Buckin’ Song (Robert)
    talk
  4. Farther Down The Line (Lyle)
    talk
  5. Shades Of Gray (Robert)
  6. Pants Is Overrated (Lyle)
  7. Feelin’ Good Again (Robert)
  8. She’s No Lady (Lyle)
  9. The Guy You Are With Is An Asshole (Robert)
    talk
  10. If I Had A Boat (Lyle)
  11. Show The World (Robert)
    talk
  12. The Front Porch Song (Robert & Lyle)
    encore call
    talk
  13. Twelfth Of June (Lyle)
  14. Amarillo Highway (Robert)
  15. Texas – 1947 (Robert & Lyle)
  16. post concert comments

The name in parenthesis is the main vocalist for that song – not the song writer.

Lyle Lovett – Guitars, Vocals
Robert Earl Keen – Guitars, Vocals

OldNeumanntapr Notes: [2018]
I’d been waiting for this show for a couple of months, ever since a friend of my wife got an extra ticket for me. It was a little steep. I’m not used to paying $85 for a ticket, but I’d never seen Robert Earl Keen before, and the last time I saw Lyle Lovett I had to keep my D8 in my pants because we were up front at the Santa Barbara County Bowl and I had an usher right next to me the entire night. I really enjoyed seeing Lovett and Keen together. They told some good stories and Keen did a song I don’t think I’d ever heard before. The lyrics were of him chastising a woman and telling her that her boyfriend was ‘an asshole!’ The crowd loved it. Lyle asked him which album that song was on and he said that he’d never recorded it, but was hoping that it would be an ‘Internet sensation.’ Yep, I’m doing my part to see that it is! This new SLO concert promoter is turning the Fremont Theater (an old art-deco movie theater built in 1942) into a resurgence of the Fillmore East, though unlike the Fillmore East the Fremont doesn’t have a balcony. I love recording in the Fremont Theater. It seats just under 1,000 people and has a really neat ornate ceiling with an inlay of a bird’s head pointing toward the stage. The Fremont has curved interior walls so the acoustics are really good, and it has a lot of neon on the marquee. I used to be able to go in ‘wired up’ and only had to power up and hit record once I got to my seat. Unfortunately, because of the increase in gun violence in this country that has recently ‘targeted’ musical events and theaters, more and more concert promoters are using metal detectors upon entry at the doors. I certainly do not begrudge the artists and patrons their right and expectation to be safe, but it does make it harder for those of us who like to archive live music. When I asked a friend of mine who worked in the sound-reinforcement industry if he had any suggestions, he commented that it was, ‘Getting a lot harder to be a criminal’. I wasn’t sure if that statement was directed at me, or just a blanket statement in general. (I know that stealth-recording of concerts is illegal) but I have never considered myself a criminal. I guess I am, in the truest sense of the word, and the eyes of the law, even though I have NEVER sold a recording and never would. I’m a TAPER, and I wear that title like a badge of honor. In any case, even though I’ve been doing this for 32 years now, the stress level is just getting way too high for me with the increase in security. Once I saw the wands in use I decided that my Neumann KM140s would probably be a bust so I went with the Nyquist’s. They don’t sound as good as the Neumanns but I figured that, by then it was, ‘Any port in a storm’. As it turned out I probably could have gotten the Neumanns in if I would have gambled a little. Thanks so much to Flying M for both doing the post production with his ‘Mad Scientist’ computer skills, and also for rebuilding the Nyquist’s for me and making them operational again. They sat in a closet for 15 years after dying at a Neil Young Concert in Los Olivos in 2003. It’s nice to have them back again. Apparently some of the wiring went bad. I don’t know how many more shows I’m going to try to record, because of the afore-mentioned heightening of security, so this might be my last endeavor. It’s certainly been a ‘Long Strange Trip.’

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

Los Lobos – San Luis Obispo, CA (06/17/92)

Los Lobos
6/17/92
Fremont Theater
San Luis Obispo, CA

Nakamichi CM-300’s w/CP-1 Cardioid Capsules >Sony WM-D6C Cassette (No NR) >CDR >FLAC
Cass Master (TDK SA-90s) Transferred: Sony TC-D5M >HHb CDR 800 PRO,
CD Masters >Audacity (Minor Edits) >FLAC (Level 8) + Tags Via xACT 2.53

Recorded, Transferred, FLAC’d, Tagged, & Front Cover Artwork By OldNeumanntapr
Recorded Front Row, Extreme Left (Seat #1), Directly In Front Of Left PA Stack.

Disc I:

  1. Intro*
  2. Shakin’ Shakin’ Shakes
  3. Evangeline
  4. Dream In Blue >
  5. Wake Up Dolores
  6. I Can’t Understand
  7. Will The Wolf Survive?
  8. Reva’s House
  9. Angels With Dirty Faces
  10. Ay Te Dejo En San Antonio
  11. Soy Mexico Americano
  12. Kiko And The Lavender Moon
  13. Let’s Say Goodnight

Disc II:

  1. // Come On, Let’s Go
  2. Wicked Rain
  3. Two Janes
  4. Anselma
  5. Carabina .30-.30
  6. Peace
  7. Don’t Worry Baby

Encores:

  1. That Train Don’t Stop Here
  2. Georgia Slop
  3. Emily //
  4. I Walk Alone
  5. Bertha

The Historic Fremont (Movie) Theater Was Built In 1942

*Intro By ‘Lady Tie Die’ And ‘Carol Jo’ From KOTTR FM
Tom Ball And Kenny Sultan Opened

OldNeumanntapr Notes;
I remember this show Well! It was the first time that I had seen Los Lobos and I got a free ticket at the very last minute. The guy who did PR for the company that I worked for had some free tickets because we were a sponsor of the show. I asked him for one on the day of the show at work. He gave me hell for waiting for the last minute to request a ticket and said not to hold my breath. At the end of the day he came to me and tossed me a ticket on my desk and said, ‘Here you are. It’s front row but…’ But what? I asked. ‘It’s all the way on the side’, he said. ‘Right in front of the left PA stack.’ I smiled and said that wouldn’t be a problem! I rushed home after work and quickly gathered my Nakamichi CM-300s and my Sony D6 and headed to the show. I missed the opening band which was Tom Ball & Kenny Sultan because I had to go all the way home to pick up my recording equipment. Interestingly enough, that was the day that a semi truck loaded with VERY toxic jet fuel bound for Vandenberg Air Force Base broke down on the Cuesta grade so they had the 101 freeway shut down over the grade. I had to detour through Morro Bay to get home. I wasn’t sure how Los Lobos felt about live taping. This was in the days before the internet so you couldn’t just check a web page. I was pretty sure the theater wouldn’t like it so I decided to play it safe. I set up the mics in the bathroom and then went to find my seat. The Fremont is an old Art-Deco-styled movie theater dating back to WW II. It has 1000 seats and is very ornate, with lots of neon and a high marquee outside. Inside it has a Huge old-fashion lobby and tapestries on the walls. The ceiling of the theater is festooned with an inset of what looks to me like a bird’s head and beak. I’ve been seeing movies in that theater since 1977 and it’s a favorite. Previously, there have only been a few bands that have played there in the history of the theater. Bonnie Raitt played there in 1983. Los Lobos played there twice, this show and once in ’95. I liked the ’92 show better. The band Yes also played there in the mid 90s. (Currently two different concert promoters have been utilizing the Fremont for live shows.) My audience master sounds like a board tape because I was literally 4 feet from the left PA stack. I ran the Nakamichi’s in a Levi jacket that had holes cut into the bottom of the front pockets so that only the capsules would stick out. The D6 I ran in a hip pack. This was my standard set up for shows at this time. I had really long hair then that I would use to cover the end of the mics with so they couldn’t be seen. There was a Cal Poly athlete security guard sitting in a folding chair not too far from me so I couldn’t really monitor my deck. When I felt the D6 shut off in the middle of a song (much sadness) I had to get up and walk back up the aisle to an empty seat to flip the tape without being seen. Ah but the struggles that we had to endure before going DAT!!! So as a result, the end of ‘Emily’ is cut. The band was really tight and the sound was awesome. They were really enthusiastic to be playing there and they did a lot of interesting and what I found out later to be rare songs. I recorded the Los Lobos show at the Fremont in ’95 but that show was SO LOUD that I had some clipping problems with the Nyquist omni mics that I had used. I think the ’92 was a much better show, both sonically and musically.

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

Jackson Browne – San Luis Obispo, CA (09/07/00)

Jackson Browne
9/7/2000
Christopher Cohan Performing Arts Center
Cal Poly State University
San Luis Obispo, CA

Lois Capps For Congress Benefit

Neumann AK-40’s (x/y) >LC3 >Beyer MV-100 >Sony TCD-D7
Recorded 16th Row, Mid Center
Transferred: Tascam DA-30 >S/PDIF >HHb CDR 800 PRO
CD Masters Extracted With xACT 2.24 >WAV >FLAC (Level 8)

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

2019 Remaster:
FLAC >WAV >Audacity (Combine Tracks To A One-Track File. Lower End-Of-Song Applause by 1.5db, Re-track, Minor Edits) >FLAC (Level 8) + Tags Via xACT 2.53 By OldNeumanntapr

Disc I:

  1. I’m Alive
  2. In The Shape Of A Heart
  3. Your Bright Baby Blues
  4. The Barricades Of Heaven
  5. Late For The Sky
  6. Fountain Of Sorrow

Disc II:

  1. World In Motion
  2. Medley: Doctor My Eyes / About My Imagination / These Days
  3. The Next Voice You Hear
  4. The Pretender

Encore:

  1. Take It Easy >
  2. Our Lady Of The Well
  3. Rock Me On The Water

OldNeumanntapr Notes;
This was the second Lois Capps for Congress benefit that I recorded, the first being at the PAC in 1998. David Crosby & CPR opened and Jackson headlined. It was a good show. I always like hearing songs from the first Jackson Browne LP, ‘Saturate Before Using’. I used the Neumanns for this show, whereas the first benefit I had used the Nyquist omni’s, which don’t have as good of sound. Thanks, as always, to Dave for his help with this one.

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