RECORDING:
Type: Audience master, recorded 3 metres back from the left-hand side PA stack.
Source: Factory-matched pair of Schoeps CCM 41V microphones (DINa mounted) -> Marantz PMD661 recorder with Oade Concert Mod (-18 dB gain/44.1 kHz/24 bit WAV)
Lineage: Audacity 2.0.0
* variable amplification for consistency of volume across recording
* added fades
* split tracks
* converted to 16 bit
-> FLAC (compression level 8) (libFLAC 1.2.1 20070917)
Taper: Ian Macdonald (ianmacd)
01. Dancing Barefoot (06:07)
02. Redondo Beach (04:57)
03. Distant Fingers (04:52)
04. April Fool (03:55)
05. Fuji-san (04:55)
06. This Is The Girl (04:22)
07. (banter) (00:42)
08. Ghost Dance (05:23)
09. (banter) (01:31)
10. Beneath The Southern Cross (08:01)
11. (banter) (00:24)
12. Night Time/(We Ain't Got) Nothin' Yet/Born To Lose/Pushin' Too Hard (Medley) (06:31)
13. Maria (06:31)
14. Nine (08:43)
15. Pissing In A River (04:48)
16. Because The Night (04:21)
17. Peaceable Kingdom (05:56)
18. Gloria (07:37)
19. (encore break) (01:35)
20. (banter) (01:53)
21. Banga (03:14)
22. People Have The Power (06:18)
23. Rock 'N' Roll ****** (11:10)
Total running time: 113:45
Notes by the taper:
This was the most physically uncomfortable gig I've been to in a long while, and that includes last week's three Heaton Park gigs, which involved hours of standing, braving the rain and a 6½ km walk back to the hotel each night.
In fact, some rain would have been most welcome at this gig, which was absolutely sweltering. It was oppressive enough outside on the street, but inside the sold-out Paradiso, one could barely draw breath.
Add to that a fever, no time to grab a meal ahead of the gig and the inability to remove layers of taper's armour once inside, and you have a recipe for extreme discomfort.
Thankfully, Patti was in blinding form and took my mind off these details for the better part of two hours. There were a couple of moments halfway through that I did feel physically sick, but these thankfully passed without incident.
I can't write volumes about this gig, because my perception was dulled and I therefore haven't committed as much to memory as I normally would have. For this reason alone, I'm glad to have taped the occasion, because I can now relive the evening in the comfort of my own home.
And so can you, dear listener.
Patti's set obviously drew heavily on her new record, 'Banga', but there were plenty of crowd-pleasers in there, too, such as the opener, 'Dancing Barefoot', 'Because The Night', 'Rock 'N' Roll ******', 'Gloria' and others.
As far as the crowd were concerned, Patti could do no wrong. Every song, old or new, was greeted enthusiastically. This enthusiasm is perfectly captured by the recording, which sounds like it might be a misleading taper euphemism for 'there's a lot of annoying audience noise', but that's not what I mean.
Patti played for close to two hours. Ordinarily, my attitude would be 'the longer, the better', but on this particular occasion, I was dying inside and could not wait to get out of the building, into the fresh air, and make a beeline for the Wok To Walk for a much needed noodle boost.
The recording is amazing. Tapers tend to hear their own recordings with silk ears, but once you've listened to the samples, you may find you agree with me. This is undoubtedly amongst my best work.
Listening to the gig now, it sounds like something I might have recorded from the radio. I cannot believe the clarity these new CCM 41V microphones are capable of and am absolutely blown away by them. They're not the easiest of microphones to use for stealthy recordings, but are more than worth the extra effort.
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