John Prine – Ventura, CA (06/02/99)

John Prine
06/02/99
Majestic Ventura Theater
Ventura, CA

Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >SBM-1 >Sony TCD-D7
DAT Master Transferred: Sony TCD-D8 >HHb CDR 800 PTO Via Analog i/o,
CD Masters >FLAC (Level 8) Via xACT 2.37

(1st Part Of ‘Spanish Pipedream’ Cut.)

December 2024 Remaster
FLAC >WAV >Audacity (De-Amplify Close-Proximity Hand Claps By 6 To 8 db, Reduce Overall End-Of Song Crowd Noise, Minor Edits [Microphone Bumps], Amplify By 2.8db, Re-Track On Similar Index Points) >Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.53

Recorded Front Row Balcony.
Recorded, Transferred, Audacity, FLAC Tags, & Front Cover Artwork By OldNeumanntapr.

Disc I:

  1. //Spanish Pipedream
  2. Six O’clock News
  3. Souvenirs
  4. Fish And Whistle
  5. Grandpa Was A Carpenter
  6. You Got Gold
  7. Linda Goes To Mars
  8. All The Best
  9. Angel From Montgomery
  10. Dear Abby
  11. Let’s Talk Dirty In Hawaiian
  12. Donald And Lydia

Disc II:

  1. A Good Time
  2. It’s A Big Old Goofy World
  3. Sam Stone
  4. Bear Creek
  5. Ain’t Hurtin’ Nobody
  6. Sins Of Memphisto
  7. Lake Marie

Encore:

  1. Hello In There
  2. Paradise

OldNeumanntapr Notes-
This was the last time that I’ve been to the Majestic Ventura Theater. The theater owners have made a lot of improvements to the theater, especially with the new sound system, since I was first there to record Arlo Guthrie in early 1991. I used to like to record in the front row of the balcony because there was less security up there and you didn’t get the noise of the dinner guests and the waitresses. The downside was that you were farther from the stage and the SPL was lower. Also, it was difficult to hear any comments that the artist might say between songs. The bottom floor of the Ventura Theater is all dinner tables and you need dinner reservations down there. Those reservations go quickly. (When I recorded Gregg Allman, openly, on the floor at the Ventura Theater a month earlier I had to pay $20 cash to the waiter on the spot to keep my place. I had already set up my stand and they were threatening to eject me because I lacked dinner reservations.) On the floor is closer to the stage and has better sound, but it’s more exposed. I have heard that the theater owners have since permanently closed off the balcony and built a wall dividing the floor section from the bar area, which is under the balcony, probably to improve the acoustics of the front part of the theater. The Ventura Theater was built in the 1920s, and at one point all the original theater seats were removed to convert it to a dinner theater with three tiered levels. I always seem to cut the beginning of ‘Spanish Pipedream’.
On a positive note, I think this was the only time I’d heard John do ‘Linda Goes To Mars’, a favorite of mine. Unfortunately, I found that my ticket stub must have suffered from heat damage as it was mostly blacked out except for the date so I was unable to scan it to use with this recording.

December 2024 Notes:
I just remastered this recording to try and reduce the microphone noise that occurred when someone would jostle me because inn those years I was wearing the AK 40 capsules mounted on an x/y bar on my collar. I also wanted to lower the ambient crowd boise so i could boost the music level a bit because the quiet parts when John would speak to the audience were difficult to hear well.

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

Furthur Festival – Ventura, CA (08/01/96)

Furthur Festival
August 1 1996
Ventura Fairgrounds
Ventura, CA

FOB: Nyquist Omnis >Sony TCD-D7 (16bit/48khz)
DAT Master Transferred: Tascam DA-P1 >S/PDIF >HHb CDR 800 PRO (16bit/44.1khz)*

CD Masters >FLAC (Level 8) Via xACT 2.41**

*HHb CDR 800 Changed Sampling Rate Automatically During Digital Transfer.

**WAV >Audacity (Final Track Of Disc I [Happy Birthday To Jerry] Was Extended With A Patch From Disc II Track I To Make One Complete Track. Track I Disc II Was Deleted And Subsequent Tracks Renumbered.)

Recorded, Transferred, FLAC’d, Tagged, & Amended Front Cover Artwork By OldNeumanntapr
Recorded 40ft In Front Of Left PA Stack.

Missing: Opening Hot Tuna Electric Set, Last Few Songs Of Bruce Hornsby’s Set, And Mickey Hart’s Mystery Box Set

Disc I:

(Los Lobos)

  1. Peace
  2. Shakin’ Shakin’ Shakes
  3. Will The Wolf Survive?
  4. Revolution
  5. Cinnamon Girl
  6. Maricela
  7. Ay Te Dejo En San Antonio
  8. Let’s Say Goodnight*
  9. Mas Y Mas
  10. Bertha^
  • – w/ Harvey Sorgen On Rubboard
    ^ – w/ Pete Sears On Keyboards

(Alvin Youngblood Hart)

  1. Pony Blues
  2. Them Fair Weather Friends
  3. Joe Friday
  4. Gallows Pole
  5. Big Mama’s Door
  6. Flying Karamazov Brothers wish Jerry Happy Birthday

Disc II:

(Bruce Hornsby)

  1. Black Muddy River
  2. Spider Fingers >
    xx. Tighten Up >
    (Tempus Fugit)
  3. Night On The Town
  4. Western Skyline >
  5. Iko Iko
  6. What A Time >
    –. Jacob’s Ladder
  7. Mandolin Rain//
    xx. That Would Be Something > (missing)
    xx. Another Day (missing)

(Mickey Hart’s Mystery Box)
xx. Missing

(Hot Tuna Acoustic)

  1. I Am The Light Of This World
  2. Keep Your Lamps Trimmed And Burning
  3. How Long Blues*
  4. Let Us Get Together Right Down Here*
  5. That’ll Never Happen No More*
  • – w/ Hornsby’s Horn Section: Bobby Reed – Saxophone, Steve Berlin – Saxophone

Disc III:

(Ratdog)

  1. Walking Blues
  2. Wang Dang Doodle *
  3. Eternity
  4. Blackbird
  5. Looks Like Rain +
  6. Juke
  7. It’s All Over Now
  8. I Need A Miracle
  9. The Winners >
  10. Bass / Jam >
  11. Turn On Your Lovelight

Disc IV

(Encores)

  1. Playin’ In The Band *** >
  2. Proud Mary *** >
  3. One Way Out *** >
  4. Knockin’ On Heavens Door ***

*-with Cindy Wasserman (Vocals); +-with Bruce Hornsby (Keys)
**-with Hornsby, Los Lobos, Hot Tuna, Mickey Hart, etc….

OldNeumanntapr Notes-
I was hoping for a board patch for the Furthur Festival, because I had heard from other tapers that they were allowing limited board access. (The bands would only allow board patches from Hot Tuna and Los Lobos, and occasionally by Bruce Hornsby, so the other bands were audience or nothing.) Unfortunately I got there late because of traffic and missed my opportunity to plug in because they were only giving access to a certain number of tapers. So, I had no choice but to record the festival up front and hope for a copy of the board tape later. (I had already missed the opening Hot Tuna set.) As it was, I met Jeff Lester at this show, who was fortunate enough to have plugged in with his TCD-D3, and he sent me a copy later of the Hot Tuna and Los Lobos sets. I had brought two 60 meter DAT blanks with me but ran out of tape on the 1st DAT and missed the end of the Hornsby set, and I didn’t notice this until just after the set. I also missed all of Mickey Hart’s Mystery Box because I wanted to conserve my second DAT blank. I like the Ventura Fairgrounds. I taped the Dead there in ’87 and actually had tickets for the ’86 show and drove all the way down before I found out that they were cancelled because of Jerry’s coma. I was there for Jerry in ’92 and ’94. I forgot a cable at the ’92 show and wasn’t able to record with my deck and I met some other tapers there and got a copy later, but I pulled a good one in ’94.

One think I always thought was cool about the beach right next to the fairgrounds is that when the waves would wash in, they would roll the cannon-ball sized rocks around and make a really surreal noise. (It was even better sounding if you were…partaking in party favors.) 🙂

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

Grateful Dead – Ventura, CA (06/14/87)

Grateful Dead
06/14/87
Ventura County Fairgrounds
Ventura, CA

OTS; Superscope EC-7 Cardioid Condensers (Near Coincident) >Sony TC-153SD (HX-S 90, XLIIS 90)

Cass Masters Transferred: Denon DR-M12HR Cassette Deck >Tascam DR100mkII (24bit/48kHz) (August 2024) WAV >Audacity (Amplify By 4.7db, Index Tracks, Down Sample To 16bit/44.1kHz, Minor Edits [Tape Flips], & Fades) Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.53

[Recorded, Transferred, FLAC, Tags, & Front Cover Artwork By OldNeumanntapr]

TDK HX-S 90 – 1st Set
Maxell XLIIS – 2nd Set

Set I
Disc I:

  1. Tuning
  2. Hell In A Bucket >
  3. Sugaree
  4. Tons Of Steel
  5. Ramble On Rose
  6. Me & My Uncle >
  7. Mexicali Blues (tape flip)
  8. Althea
  9. Feel Like A Stranger
  10. Might As Well

Set II
Disc II:

  1. Scarlet Begonias >
  2. Fire On The Mountain (tape flip)
  3. Playing In The Band >
  4. Terrapin Station >
  5. Drums >
  6. Space > (tape flip)

Disc III:

  1. Truckin’ >
  2. Wharf Rat >
  3. Throwing Stones >
  4. Not Fade Away

Encore:

  1. The Mighty Quinn (Quinn The Eskimo)

Jerry Garcia – Guitar
Bob Weir – Guitar
Brent Mydland – Keyboards
Phil Lesh – Bass
Bill Kreutzmann – Drums
Mickey Hart – Drums

OldNeumanntapr Notes:
I haven’t listened to these recordings in many years and I just recently realized that they had never been digitally transferred. I was able to transfer my Saturday Ventura master with my Sony D5, but when I tried to transfer the Sunday show I heard what sounded like WOW distortion. This turned out to actually be a problem with my D5 and was not the tape at all. I had to borrow a Denon home cassette deck from a friend for these transfers. The first thing I noticed was that I had forgotten that I used to pause the tape between songs, mostly in the first set. I don’t know why I did this but I had only been recording live shows for about a year. I don’t know when I wised up and just let the tape roll. I think my rationale was that I was trying to cut out the dead air between songs but I ended up clipping the beginning of some songs. I would also, in the early days, start the second set at the end of side two of the first set. I didn’t realize that this would give me one extra tape flip.

This was the weekend that I met my friend Gene, who patched into my Sony 153 with a borrowed Marantz 420. Gene would eventually buy a gray-market Sony D10 DAT recorder that we would ship back and forth from coast to coast to record Dead shows with.

My intentions were to use the TDK chromium tapes for one day and the Maxell XLIIS tapes on another, to see which ones I liked better. (I would eventually use only XLIIS to master shows with.) For some unknown reason, most likely cannabis induced, I ended up taking one tape of each manufacturer in with me for the Saturday show, so I had no choice but to repeat that for the Sunday show.

I liked the Ventura Fairgrounds a lot. My ex wife and I camped for the weekend in the parking lots in my ’67 VW camper bus and we were quite comfortable, compared to our neighbors in the lot who were spending the night in a Honda CRX. Talk about cramped! Brian and I became friends, not sure that his girlfriend enjoyed the weekend’s accommodations, and Nikki and I stayed with him once in San Francisco not long after the big Loma Prieta Quake where he showed me the big cracks inside the Victorian that he was renting. I remember that he said that during the quake he got into a doorway but forgot that there was a pocket door that slammed against him repeatedly!

All in all this was a million times better experience than the previous year’s Ventura Fairgrounds excursion when Jerry had his diabetic coma, the shows were cancelled, and I almost burned up my VW bus! (Other than that, how did you like the play, Mrs. Lincoln?)

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

Grateful Dead – Ventura, CA (06/13/87)

Grateful Dead
06/13/87
Ventura County Fairgrounds
Ventura, CA

OTS; Superscope EC-7 Cardioid Condensers (Near Coincident) >Sony TC-153SD
Cass Masters Transferred: Sony TC-D5M >Tascam DR100mkII (24bit/48kHz) (June 2024)

WAV >Audacity (Amplify By 7.7db, Index Tracks, Down Sample To 16bit/44.1kHz, Minor Edits [Tape Flips], & Fades) >FLAC (Level 8) + Tags Via xACT 2.53

[Recorded, Transferred, FLAC, Tags, & Front Cover Artwork By OldNeumanntapr]

TDK HX-S 90 – 1st Set
Maxell XLIIS – 2nd Set

Set I
Disc I:

  1. Mississippi Half Step Uptown Toodleloo
  2. Walkin’ Blues
  3. Row Jimmy
  4. When I Paint My Masterpiece *
  5. When Push Comes To Shove
  6. Cassidy (tape flip)
  7. Friend Of The Devil >
  8. Let It Grow

Set II
Disc II:

  1. Shakedown Street
  2. Saint Of Circumstance >
  3. Ship Of Fools (tape flip)
  4. Estimated Prophet >
  5. Eyes Of The World >
  6. Drums >
  7. Space >

Disc III:

  1. The Other One > (tape flip)
  2. Morning Dew >
  3. Sugar Magnolia >
  4. Sunshine Daydream

Encore:

  1. Black Muddy River

First time performed *

Jerry Garcia – Guitar
Bob Weir – Guitar
Brent Mydland – Keyboards
Phil Lesh – Bass
Bill Kreutzmann – Drums
Mickey Hart – Drums

OldNeumanntapr Notes:
This was my very first Ventura Fairgrounds Grateful Dead show! We had tickets the PREVIOUS year in 1986, but that was a disaster for both me and the band. Since my ex wife worked at the Cal Poly University Library in San Luis Obispo, she was never able to get Friday’s off from work, so we left that year on Friday evening and missed the phone message on our answering machine (remember those?) from a friend telling me that he heard on the radio that the Ventura Fairgrounds Dead concerts were cancelled.

I had had just gotten my ’67 VW bus out of the shop after having a new transaxle installed, because it kept popping our of fourth gear, and I TOLD them to replace ALL the fuel lines, because I had been smelling gas at times. They replaced the rubber lines but not the metal line that runs from the gas tank, through the firewall, to the fuel pump. The bus had been sitting for months while I saved up the $600 needed to replace the trans, and I guess that the points in the distributor had gotten corroded. We got all the way down to Gaviota right by the ocean north of Santa Barbara and we were listening to my cassette that I had recorded from the LP ‘Live Dead on the stereo. Right in the middle of ‘Dark Star’, the bus just quit running and we coasted to a stop on the side of the 101 freeway. It wouldn’t start, so we flagged down a car and got a ride to the nearest gas station about seven miles south. (The only car that would stop was an old Ford Granada with some sketchy people that looked like they hadn’t bathed in a while but I wasn’t complaining. A ride is a ride!)

Once we got to the Chevron station, the tow truck driver gave us a lift back to the bus. He asked where we were headed and I told him that we were going to the Dead shows at Ventura Fairgrounds. He told me that he heard a rumor that the shows were cancelled and my heart sank. This was to be the first shows that I was planning on recording with my Sony TC 153SD and Superscope EC-7 cardioids that I had recently purchased from a friend of a friend who had worked at Pacific Stereo in the 70s and bought them new.

The tow truck driver looked at the motor and scraped the points with a screwdriver and the bus started up! YAY! We were ambulatory once again! When we arrived at the Ventura Fairgrounds about 11 PM , there was a lot of somber people milling around and a yellow-shirted venue staff member with long blonde hair was telling everyone that Jerry was in a coma and the shows were cancelled. He was telling everyone to head to Cachuma Lake, north east of Santa Barbara, for camping. We had come all this way apparently for nothing. I had mail order ticket, batteries and blanks for my tape recorder, a full ice chest, and provisions for a weekend of camping and concert going.

I thought we should go and gas up the bus before leaving town, so we stopped at a cheap station and I filled the tank. I had only owned the bus for a short time and I was unfamiliar with its idiosyncrasies. Later, I was to discover that when the front windshields had leaked, the water had shorted out the high beam headlight relay that is mounted on the inside of the front wall under the windshields. When I hopped out of the bus, my knee must have bumped the lever that activated the high beams, so when I got back into the bus and started her up I was distraught to find that the headlights did not function. I had parking lights and dash lights but no headlights. I thought I must have blown a fuse. if I would have just clicked the level the low beams would have come on and we would have been back on the road, and possibly died.

I had no other option but to find a quiet side street to park for the night and try and drive up to Cachuma Lake in the daylight hours. We went back to the fairgrounds, with only running light, no head lights, and parked on the street just to the south where a lot of condos were. My bus was a camper and had a folding table and folding bed in the back so we were fairly comfortable for the night. (That was back when I was only 21-years old and didn’t have to pee three times a night! Oh the good old days!)

I woke up the next morning with one Hell of a headache. Another of the bus’s little secrets was that I didn’t know that the gasket on the fuel cap was bad, and that since we were parked on the street with a camber, gas had run out of the full tank and flowed all over the street right under where we were sleeping.

I also noticed that the metal fuel line, where it runs through the firewall into the engine compartment, had a crack and was leaking there too. Apparently the rubber grommet had fallen out years ago and every time the engine moved on the motor mounts it rubbed that metal fuel line back and forth across the exposed metal opening in the firewall. This of course was dripping gas directly onto the heater boxes on the driver’s side!!!!

We walked all over downtown Ventura before we found a Kragen’s. I managed to limp the bus there. (We were in the intersection right downtown when in saw white smoke coming out of the defroster. I stopped the engine, grabbed my fire extinguisher and jumped out yelling ‘Fire!’ It was amazing how many hippies scatter when you yell fire in an old VW bus!) I rolled under the back and sprayed the fire extinguisher over the bottom of the engine. Fortunately it hadn’t caught fire yet, but was getting close. We got to Kragen’s, driving a block at a time, and I borrowed a hax saw. I bought two hose clamps and a piece of rubber fuel line. I took out the metal line, being careful to block the outlet of the full fuel tank, and cut the good end off the metal line. I scraped it back and forth along the pavement to file it down and used it as a coupler to join the two fuel lines together. It worked that way until I sold the bus.

If we hadn’t of had the trouble with the headlight relay it is extremely possible that we would have suffered an engine fire from the fuel leak on the gas line and possible died in the flames. I guess it was a blessing. (And I’m an Agnostic!)

We drove to Cachuma lake, met up with some Deadheads that had some killer ‘Goony Bird’ acid tabs with cartoons of little airplanes on them. They had the acid and I had a case full of live music recordings. We had a nice party.

The ranger kept driving by that night as we were sitting by the fire and he would roll his window down and say, ‘Go to bed!’ This one Deadhead named Mikey, from Oakland, would look at him and say, ‘But Sir! We’re Not Tiiiiiired yet!’ Too funny!

So yes, You could say that I remember that weekend well. 🙂


I told you THAT story so that everyone would understand why the 1987 Ventura shows were so meaningful to me. We camped, in the bus, in the parking lots and bar-be-cued our dinners and recorded some good shows. On Saturday, June 13 1987, I met my friend taper Gene. He patched a Marantz 420 into my Sony TC-153SD and we have been friends ever since. Later Gene would buy a grey-market Sony TCD-D10 DAT and we would ship it back and forth from coast to coast recording Dead shows!

This was also my very first ‘Morning Dew’, a song that I had always been fond of since hearing it on the first Dead LP when I was just out of high school in 1983.

(This was the LAST show that I have been able to transfer with my Sony D5 which, up until now, has been the most reliable deck I’ve ever had. I bought it from my friend Jack in 1992 when he made the leap to DAT. It’s now developed speed fluctuations, and hopefully can be repaired. I love that deck. I had to borrow a Denon home cassette deck from my friend Dave to transfer the remaining cassette masters that had never been finished before, and I discovered that there were quite a few of them! Also, ALL of the front-cover artwork for My Grateful Dead shows have been done EXPRESSIVELY for the Midnight Cafe and are unique to Mat’s site, now that it is a private site.)

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

Arlo Guthrie – Ventura, CA (03/23/91)

Arlo Guthrie
3/23/91
Ventura Theater
Ventura, CA

1st Row, Left-Side Balcony: Nakamichi CM-300 CP-1’s >Sony WM-D6C,
XLIIS Cassette Master Transferred: Sony TC-D5M >HHb CDR 800 PRO,
Tayio Uden CD Masters Extracted To One-Track WAV Files >Audacity (Track Splits, Minor Edits, Amplify, & Normalize) >FLAC (Level 8) + Tags Via xACT 2.53

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

Disc I:

  1. Chilling Of The Evening
  2. I Ain’t Got No Home
  3. When The Ship Comes In
  4. The Motorcycle Song
  5. Darkest Hour
  6. Coming Into Los Angeles
  7. Keep The Dream Alive
  8. Wake Up Dead

Disc II:

  1. Oklahoma Nights
  2. Gabriel’s Mother’s Highway Ballad #16
  3. When A Soldier Makes It Home
  4. City Of New Orleans
  5. Amazing Grace
  6. All Over The World
  7. Can’t Help Falling In Love
  8. Highway In The Wind

OldNeumanntapr Notes-
This was the first time that I had seen / recorded Arlo and I was stoked to finally get to see him. My ex wife Nikki was six months pregnant with our daughter Lucy. I had her take my Sony D6 in for me with an ace bandage under her skirt, and I took the microphones, cables and blank tapes. I remember that there was a search going in and one person was stopped because they had an 110 Instamatic camera, and the bouncer made them take it back to their car. They tried to say that there was only a few frames left on the roll but the bouncer wasn’t buying it. We sailed in without a hitch because NO One wants to frisk a pregnant woman! The Ventura Theater was built in the late 1920s in the architecture of Spanish Colonial Revival, and first opened in 1928. It’s a really cool old theater and makes for a great place to see a live show. The seats were taken out years ago on the floor and that level, in three tiers, was converted to a dinner theater. The best seats are up front, but it’s also the riskiest place in which to record from. I recorded this show from the front row of the balcony. It’s a little boomy up there, but far safer for recording. You can actually hear the fan in the spotlight during the quiet parts. There were two spotlights in the balcony and I was sitting about three seats to the left of one of them, on the left side. The last time I have been to the Ventura Theater (The new owners modified the name to the Majestic Ventura Theater in the early to mid 90s) was to record John Prine in 1999. I have been told that the balcony is now closed off permanently and a sound wall was built between the back of the floor section and the bar area, which is under the balcony. This was possibly to improve the sound in the front part of the theater. I ran the Nakamichi microphones in a modified Levi jacket. I had holes sewn into the bottom of each front pocket, so only the capsule/wind screens would protrude from the jacket. I had long hair that I would wear down, to hide the mics from view, and used shortened XLR >RCA cables to connect to my recorder which I kept in a small hip pack. I wish I could have used the CP-4 shotgun capsules but that would have been far more noticeable, at least to the spotlight operator. My friend Jim used to tape his stereo mic to the top of the railing at the front of the balcony and drape his coat partially over the top. Whatever works, I guess. I liked the set list, and got to hear both The Motorcycle Song and The City Of New Orleans, so I was happy. Arlo told some great stories, as usual, and he talked a bit about the Gulf War. He said that he wanted to write a song about it but ‘it kept changing’. I was able to get my ticket signed after the show. Tape flips have been edited in Audacity. There was one after the sixth song on the first disc, and one in the middle of ‘Amazing Grace’.

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

Gregg Allman – Ventura, CA (05/27/99)

Gregg Allman & Friends
5/27/99
Majestic Ventura Theater
Ventura, CA

Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >Tascam DA-P1
DAT Master Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o,
CD Masters (HHb Gold Discs) >FLAC (Level 8) Via xACT 2.28

FOB, 2nd Tier, Center Table. Microphones On 10ft Stand

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

Set I

  1. Hot ‘Lanta
  2. I’m No Angel
  3. Slip Away
  4. Rendezvous With The Blues
  5. Midnight Rider
  6. Love The Poison
  7. These Days
  8. I’ve Been Hurt Real Bad
  9. House Of Blues

Set II

  1. Demons
  2. Born Under A Bad Sign
  3. Just Before The Bullets Fly
  4. Back To Daytona
  5. Melissa
  6. Whipping Post
  7. Trouble No More
  8. Please Call Home

OldNeumanntapr Notes:

This ‘review’ I had originally posted to DAT-Heads soon after the show in 1999

Just back from Greg Allman and Friends at the Ventura Theatre.
The theatre people gave me the usual run around even though I had a print
out of the ABB web page which stated the taping policy. I finally went
directly to Robert, the manager, who is a friend of a friend of mine.
He was cool and said he didn’t mind but someone would have to personally
ask the road manager. I relayed this to one of the security people outside
who came back 5 minutes later with a long face and said, ‘sorry dude. You
can’t’. I told him that Robert had already given his OK but they would
have to talk with the road manager. This guy then said he would go back
and ask again. I figured I was just going to get the run around so I
walked down the street and found an open side door near back stage. The
road manager was outside talking to this same security kid. I walked up
and smiled and the security guy looked at me then looked at the road
manager and said, ‘oh yeah. One other thing. You can answer this guy’s
question. You Don’t allow recording do you?’ He asked expecting the answer
no. ‘Sure. Audio, no video’ was his response.

I thanked him and went to go in. The door people were a little alarmed at
my mic stand and wanted to know what it was. All the tables on the floor
were reserved for dinner except for 4 seats on the center table, second
tier. Myself and another taper sat down. He had already paid for dinner, I
hadn’t. Immediately the floor manager was all over me telling me I
couldn’t set up here because it was for dinner people only, blah blah
blah. So I had to pay the $20 on the spot for dinner but got to keep my
killer FOB center location. Right where I wanted to be anyway.

Moral to the story is it helped having the printout of the web page but it
also helped more being able to go right to the manager. But still I had to
work to get my gear inside because I basically had to ask the band’s road
manager myself. I couldn’t believe I was the only stand in the room!
I was expecting more tapers in Ventura. Especially since it was so close
to LA.

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

Hot Tuna – Ventura, CA (03/02/91)

Hot Tuna
March 2 1991
Ventura Theater
Ventura, CA

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

(Recorded, Transferred, Audacity, FLAC, Tags, & Front Cover Artwork By OldNeumanntapr)

Front Row Balcony, Left Hand Side.

Maxell MX-S Masters Transferred: Sony TC-D5M >Tascam DR-100mkII (24bit/48kHz),
Left Channel Y’d To Mono Due To Bad Right Channel In Stereo Microphone.
WAV >Audacity (Track Splits, 30 Milliseconds Of Delay Added To Right Mono Channel To Approximate A Pseudo Stereo Effect, Minor Edits, Down Sample / Dither To 16 Bit 44.1k) >FLAC (Level 8) Via xACT 2.35

FLAC >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 4.6db, Re-Track On Original Index Points) >FLAC (Level 8) + Tags Via xACT 2.53 (July 2024)

Disc I:
Electric:

  1. Walkin’ Blues
  2. I See The Light
  3. Hit Single #1
  4. It’s Just My Way
  5. 99 Year Blues
  6. I Am The Light Of This World
  7. Ice Age
  8. Love Gone Flat
  9. AK-47*
  10. Bring It On Home To Me
  11. Big Fish

Acoustic:

  1. Hesitation Blues
  2. I’ll Be All Right Someday

Disc II:

  1. Let Us Get Together Right Down Here
  2. I Want You To Know
  3. Candy Man
  4. Watch The North Wind Rise
  5. Trouble In Mind
  6. San Francisco Bay Blues*

Electric:

  1. Bulletproof Vest
  2. Brand New Toy
  3. Death Don’t Have No Mercy
  4. Baby What You Want Me To Do
  5. Key To The Highway
  6. Junkies On Angel Dust

Encore:

  1. Parchman Farm

Lineup:
Jorma Kaukonen – Guitar, Vocals
Jack Casady – Bass
Michael Falzarano – Guitar, Vocals
Harvey Sorgen – Drums

*Tape Flip At End Of Song

Show Was All One Set But Broken Up With An Acoustic Portion In The Middle

OldNeumanntapr Notes:
This was my VERY FIRST recording made at the Ventura Theater, and was recorded with one of my two Aiwa CM-30 stereo microphones, but unfortunately this particular mic had a problem with the right channel. I was able to repair the missing channel and add some digital delay in Audacity, details described above in transfer notes.

I probably should have used my Nakamichi CM-300s for this show, but I went with the Aiwa to be on the safe side. I did use the Naks for Arlo Guthrie later in March of ’91 at the Ventura Theater and they did sound a bit better.

The Ventura Theater was built in the 1920s and is of ‘Spanish Colonial’ architecture. It was converted to a dinner theater at some point and all the seats on the floor area removed to make room for large dinner tables arranged in three tiers (because of the original sloped floor of the theater.) The PA was upgraded in the late 90s and sounded much better, whereas before it could sound boomy, especially in the balcony being at the back of the hall, but it was a safer bet for recording as compared to up front in the dining area. The crowd was always quieter in the balcony and there was less security. In later years a wall was built at the back of the main part of the theater behind the dinner tables and the balcony, which was over the bar, was permanently closed off. I have recorded there several times during the 1990s but I don’t think I’ve been there since.

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

Cowboy Junkies – Ventura, CA (07/31/01)

Cowboy Junkies
07/31/01
Majestic Ventura Theater
Ventura, CA

FOB: Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >SBM-1 >Sony TCD-D7 DAT Master

(Recorded, Processed, FLAC’d, Tagged, & Front-Cover Artwork By OldNeumanntapr)
FOB; Microphones On A Nine-Foot Stand, From The Back Of The Second Tier.

DAT Master Transferred: Tascam DA-30 >HHb CDR 800 PRO
CD Masters >FLAC (Level 8) xACT 2.48
FLAC Tags Via xACT 2.53

Disc I:

  1. Hard To Explain
  2. Miles From Our Home
  3. ‘Cause Cheap Is How I Feel
  4. A Horse In The Country
  5. Upon Still Waters
  6. Small Swift Birds
  7. The Last Spike
  8. Good Friday
  9. Bread And Wine
  10. Thirty Summers

Disc II:

  1. Something More Besides You
  2. Where Are You Tonight?
  3. Misguided Angel
  4. I’m So Open
  5. Lay It Down
  6. Band Intros
  7. Murder Tonight In The Trailer Park >
  8. I Saw Your Shoes

Encore:

  1. Thunder Road
  2. Anniversary Song

OldNeumanntapr Notes:
This was the first and, unfortunately, only time that I have seen Cowboy Junkies. I took my stealth gear down expecting to record covertly, but once in line I met up with another taper who had a nice microphone stand and he agreed to hang my AK 40 capsules below his own microphones. I don’t remember now what he was running. I had no idea that the Cowboy Junkies were not only agreeable to open taping but that they would actually guest list tapers! Wow. My kind of band! Margo Timmins has an absolutely AWESOME voice! I really enjoyed this show a lot. She told some great stories too, especially the one about the ‘game’ that her brothers (bandmates) play while on the road in the bus where they add the word ‘anal’ to the models of passing cars. “They’ve been doing this for years,” she said. “They can’t wait to see a Probe”! Too funny! I went down to Ventura with my friend Dave, and my girlfriend (later my wife) Genéte stayed behind. I think she would have liked it.

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

Blues Traveler – Ventura, CA (05/23/92)

Blues Traveler
May 23rd, 1992
Ventura Theatre
Ventura, CA

Master:
Aiwa CM-30 Stereo Cardioid >Sony WM-D6C >Cass(m)
Front Row, Left; Balcony

Conversion:
Sony TC-D5M >HHb CDR 800 PRO Standalone >CD

Extraction:
CD >xACT 1.69 (cdparanoia) >AIFF >xACT 1.69 >FLAC
by Dave Mallick

Recorded, Transferred, FLAC Tags, & Front-Cover Artwork By Oldneumanntapr

Disc 1 [77:35.51]

  1. Intro                         [03:07.48]
  2. M//ulling It Over             [07:10.70]
  3. Optimistic Thought            [04:00.49]
  4. Out Of My Hands >             [04:12.31]
  5. Should I Stay Or Should I Go? [08:52.59]
  6. All In The Groove             [07:05.34]
  7. Ivory Tusk/                   [06:53.16]
  8. American Way                  [06:36.14]
  9. Trina Magna                   [08:15.40]
  10. Gotta Get Mean >              [04:24.42]
  11. Gloria >                      [14:52.59]
  12. Gotta Get Mean/               [02:03.39]

Disc 2 [65:48.43]

  1. 100 Years                     [06:11.11]
  2. Manhattan Bridge              [07:13.31]
  3. Sweet Pain                    [10:46.30]
  4. Sweet Talking Hip//pie        [19:49.26]
  5. Dropping Some NYC >           [02:46.07]
  6. As We Wonder                  [04:50.34]
  7. NY Prophesie                  [07:06.14]
  8. But Anyway (encore)          [07:05.40]

Notes:

  • Brief skip forward in d1t02. Tape flip at 18:00 of d2t04.
  • Single slashes denote tape flips or stoppages where no music
      is missing.

OldNeumanntapr Notes-
This was the first time that I had seen Blues Traveler. I didn’t know that they allowed recording. I guess I should have asked for a board patch but instead I ran up to the balcony to get a front row spot. The Nakamichi CM-300s probably would have sounded better but for some reason I chose to go with the little Aiwa stereo mic. It was a pretty good show and I still have the t-shirt! The recording is OK but would have sounded better with the CM-300s. I added it to etree because I noticed that this date wasn’t listed at all in the master list. Thanks to Dave Mallick for the help with the set list.