Dick Dale
The Forum On Marsh
San Luis Obispo, CA
July 31, 1998
FOB, 15 Feet In Front Of Right PA Stack:
Nyquist Omnis >Sony TCD-D7
DAT Master Transferred Via:
Tascam DA-P1 >S/PDIF >HHb CDR 800 PRO
CD Masters >FLAC (Level 8) Via xACT 2.41
FLAC >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 4.65db, EQ [Roll Off Frequencies below 250 hertz] Re-Track On Original Index Points) >FLAC (Level 8) + Tags Via xACT 2.53
Recorded, Transferred, Audacity, FLAC, Tags, & Front-Cover Artwork By OldNeumanntapr
Some Minor Distortion (Made Better By Post Production) In Places And Loud Obnoxious Crowd Toward End Of Show.
Disc I
- Announcement
- Tuning
- Shredded Heat
- Nitrus
- Trail Of Tears >
- Smoke On The Water >
Peter Gunn Theme >
Smoke On The Water
- Take It Or Leave It
- Taco Wagon
- Ghost Riders In The Sky >
- Hot Links: Caterpillar Crawl / Rumble
- Fever
- Misirlou
- Belo Horizonte*
- Front Porch Blues*
Disc II
- Mexico / Esperanza*
- The Wedge Paradiso**
- Mr. Peppermint Man
- Cherry Pie >
- Haji
- The New Victor
- My Baby
- House Of The Rising Sun
- Summertime Blues >
Band Intro >
Jam >
- The Wedge
- Shake And Stomp
- Third Stone From The Sun
- Scalped
- Walk Out
Dick Dale – Guitar, Vocals, Trumpet**
Ron Eglit – Bass
Dusty Watson – Drums
*Acoustic
OldNeumanntapr Notes:
This was one of two concerts that I saw / recorded at The Forum On Marsh in San Luis Obispo. The other one was Joe Ely, also in 1998. I’m not sure how long this club was in business, but it was formally a bank. I don’t think it was around for more than a year or so, maybe less. The crowd at this show was mostly drunk college kids, and a few of them were really unruly, as you can hear by the story on the way out of the club at the end of the show. I went to this one, as usual, with my friends Dave and Brian. It was standing room only and fairly packed. I had to keep the recording levels low because the Nyquist Omni hat had a tendency to distort if the levels were too high. I had to work on this one a bit in Audacity but I think it sounds much better now, with the bass rolled off. This was a little before I had the Neumann microphones so I had to make do with the Nyquist Omnis, which were custom made by an out-of-work electrical engineer in Denver. The microphones used a battery box, powered by a nine-volt battery, that would step up the signal to line level.
I loved seeing Dick Dale because he was such a legend. My dad told stories about going to see Dick Dale and The Del-Tones at the Rendezvous Ballroom in Balboa, CA, in 1961 and ’62. The Rendezvous was an old ballroom from the 1930s in the big band era, and it was right at the beach. He said that at high tide the surf would come all the way up to the front steps and get your feet wet upon entry. My dad was a young blonde surfer and loved Dale’s surf guitar sounds. Apparently there was an ordinance in Balboa that forbade concert goers from attending a performance without wearing a tie, so the staff would loan you one at the door and and you had to take it off when you exited.
This was taken from Wikipedia:
Dale was one of the most influential guitarists of all time and especially of the early 1960s. Most of the leading bands in surf music, such as The Beach Boys, Jan and Dean and The Trashmen, were influenced by Dale’s music, and often included recordings of Dale’s songs in their albums. His style and music influenced guitarists such as Jimi Hendrix, Pete Townshend, Eddie Van Halen and Brian May.
He has been credited with popularizing tremolo picking on electric guitar, a technique that is now widely used in many musical genres (such as extreme metal, jazz fusion, etc.). His speedy single-note staccato picking technique was unrivaled until guitarists like Eddie Van Halen entered the music scene.
He is cited as one of the fathers of heavy metal for pushing the limits of amplification. Working together with Leo Fender, Dale also pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing thick and previously unheard volumes including the first-ever 100-watt guitar amplifier. Dale also pioneered the use of portable reverb effects.
The use of his recording of “Misirlou” by Quentin Tarantino in the film Pulp Fiction led to his return in the 1990s, marked by four albums and world tours. He was also nominated for a Grammy in the Best Rock Instrumental Performance category for the song “Pipeline” with Stevie Ray Vaughan.[10] In “Rolling Stone’s 100 Greatest Guitarists of All Time”, Dale was ranked 31st in 2003 and 74th in the 2011 revision.
Do NOT Convert To MP3.
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