Posts Tagged ‘ schoeps ’

Ryley Walker / David Grubbs / Ryan Jewell / C. Spencer Yeh: March 26, 2019 Union Pool

April 15, 2019
By

Ryley Walker’s March residency at Union Pool covered all the bases of Walker’s sound, from relatively “straight-ahead” song-based performances to instrumental blowouts with friends and colleagues like Ryan Jewell and Steve Gunn. Count this final night’s performance firmly in the latter camp, as Walker and residency mainstay Jewell were joined by David Grubbs (Gastr del Sol, others) and C. Spencer Yeh (Burning Star Core) for a full set of avant-garde experimentation that found Walker stepping away from the mic but fully present as guitarist and spiritual force.

Ryley Walker’s March residency at Union Pool covered all the bases of Walker’s sound, from relatively “straight-ahead” song-based performances to instrumental blowouts with friends and colleagues like Ryan Jewell and Steve Gunn. Count this final night’s performance firmly in the latter camp, as Walker and residency mainstay Jewell were joined by David Grubbs (Gastr del Sol, others) and C. Spencer Yeh (Burning Star Core) for a full set of avant-garde experimentation that found Walker stepping away from the mic but fully present as guitarist and spiritual force.

Over the course of these residency shows (plus bonus Queens show), I’ve said my piece about Ryley Walker and “who” he is musically, so I won’t belabor the point. Suffice it to say that even if you follow all things Walker, this unique collaboration is a standout, something not likely to be repeated. Walker made it known what an honor it was for him to play with these musicians. It was equally our honor to have heard it.

I recorded this set in the same manner as the other Union Pool shows, with Doug Graham’s outstanding house mix leading the way. Enjoy!

Thanks to Union Pool and Will S for continuing to book and host interesting and experimental music in north Brooklyn.

Download the complete show from its Live Music Archive page.

Ryley Walker/David Grubbs/Ryan Jewell/C. Spencer Yeh
2019-03-26 (Residency Night 4)
Union Pool
Brooklyn, NY  USA

Recorded and produced by acidjack

Soundboard (engineer: Doug Graham) + Schoeps MK5c (XY, at SBD)>KC5>CMC6>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 UP Quartet Jam Pt 1
02 UP Quartet Jam Pt 2
03 UP Quartet Jam Pt 3
04 UP Quartet Jam Pt 4
05 UP Quartet Jam Pt 5

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Garcia Peoples: March 24, 2019 Trans-Pecos

April 3, 2019
By

Those in the know around these parts have probably seen Garcia Peoples a handful of times or more by now — they’ve maintained a hyperkinetic schedule of local and tour shows that would be the envy of any hungry young band.

Listen to this set from Trans-Pecos a couple Sundays ago and you can understand why no promoter ever says no to these guys . This band is absolutely on fire right now, its players dialed in to a level that normally takes years. Being a private event, this was a “play what you want” set for the band, and they took that to heart, leading off with an extended improv that transitioned into their cover of “Laila Pt 2” by Agitation Free (which we first heard at Union Pool) followed by “High Noon Violence” from their brand-new breakout album, Natural Facts. After a spot-on “Total Yang,” the band were joined by Ryley Walker for an extended 16-minute improv that found Walker joining Tom Malach and Danny Arakaki as a third guitarist. Adding to the special nature of the proceedings, the band was joined by semi-regular member Pat Gubler (aka P.G. Six) on keys.

As the writer Jesse Jarnow memorably puts it, Garcia Peoples are “your heady, friendly reminder that it’s alright to let the sunshine in”. Arakaki, Malach, Derek Spaldo (bass) and Cesar Arakaki (drums) are after something here that’s so much more than being a Grateful Dead-referencing tribute band. In fact, their principal resemblance to a musician named Garcia is that each of these guys are skilled musicians with a hot improvisational streak, rarely playing a song the same way twice. Their sound lives in a zone all its own, and seems sure to cast a wide net far beyond the GD/Phish crowd. It’s no accident that they cover the likes of Agitation Free and Relatively Clean Rivers more frequently than, say, this alchemical rendition of “The Other One” with Chris Forsyth.

So yes, New York-based heads will probably end up seeing Garcia Peoples whether they specifically plan to or not. But really, you ought to plan to. A band this good should be top of mind for anyone who cares about how the best live music should sound.

I recorded this set with a soundboard feed and Schoeps MK5 cardiod microphones onstage. The sound quality is excellent. Enjoy!

Download the complete show from its Live Music Archive page.

Garcia Peoples
2019-03-24
Trans-Pecos
Queens, NY  USA

Recorded and produced by acidjack

Schoeps MK5c (onstage, XY)>KC5>CMC6 + Soundboard>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 Jam>
02 Laila Pt. 2 [Agitation Free]>
03 High Noon Violence
04 [banter]
05 Total Yang
06 Pecos jam*

* w/ Ryley Walker

PLEASE SUPPORT GARCIA PEOPLES: bandcamp | Facebook

Ryley Walker & Ryan Jewell: March 24, 2019 Trans-Pecos

April 2, 2019
By

Making music is an act of generosity — the sharing of your inner self with a public that may or may not appreciate or understand it. The music in the world that is great is also the music in which the artist is most honest with her/himself. Honesty often means getting close to the dark places inside you.

Ryley Walker’s music has always embodied a certain conflict. When Walker takes a fairly straightforward folk-rock album track and turns it into a live 15-minute jazz-psych freakout, I don’t think the change is just about the “freedom” of the live setting or a fundamental dislike of the album track. Maybe that’s part of it, but I see a contest of impulses — to be a commercially approachable troubadour or the more esoteric, improvisational player he’s been since his career began. Do you want to be the guy who wears British tailoring in leafy photo shoots, or do you want to be the guy who uses his trio show with Ryan Jewell and Steve Gunn to play 50 minutes of psych jams? Walker is both of those things — he’s good at being both of those things — but one gets the sense that he isn’t totally comfortable living solely as either. I get it: A lot of us want to be more than our headline.

There’s a well-known paradox of the “sad clown” — that people who are funny are often people who aren’t happy. Anyone who has caught Ryley live or read him in Vice or reads his Twitter knows that he is certainly the former: he can be very, very funny. Listen to his lyrics as sung, and you might be surprised: Most of Walker’s songs are varying degrees of melancholic. Even a whimsical-sounding tune like “Summer Dress,” if you listen to his delivery, is more anxious than it seems: for a person with a belly full of wine singing about green pastures of desire, the narrator sounds ill at ease. The song is especially vivid for me because it’s the first one I ever heard Ryley Walker play. That very first song lacerated me; I believed the voice I heard.

Generosity. It’s sharing those darkest places in yourself, but it’s also playing a huge fan’s birthday party at Trans-Pecos in the middle of the day, even though you’ve got another show in town that Tuesday (which ends up being a jaw-dropping improv set with Jewell, David Grubbs, and C. Spencer Yeh—check back here soon). This set (a duo of Walker and Jewell) encapsulated all of the different sides of Ryley Walker at once — from his best-known song (and total live jammer) “The Roundabout” to the not-often-played-anymore “Summer Dress,” to the ending jam, which hews closer to his most recent Union Pool shows — and also kills.

That Walker puts his conflicts out there for everyone to see is not a flaw, nor is one choice he makes more true or “real” than another. They’re who and what he is — honest to the point of ache, always pushing to be something more. The late 2010s don’t feel like a moment for generous spirits, but you don’t choose when you’re born, anymore than you choose to whom, or where. Yet here he is: a generous spirit, one for whom, on this particular day, I was especially grateful.

Download the complete set from its page on the Live Music Archive.

Ryley Walker & Ryan Jewell
2019-03-24
Trans-Pecos
Queens, NY  USA

Recorded and produced by acidjack

Soundboard + Schoeps MK5c (onstage, XY)>KC5>CMC6>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 The Roundabout
02 [banter]
03 Summer Dress
04 [American Primitive rap]
05 Primrose Green
06 [HBD]
07 Pecos psych jam

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Ryley Walker: March 12, 2019 Union Pool

March 14, 2019
By
Photo by Drew Gardner

Listen to this recording for the in-between song comedy, if nothing else.

Huh? Oh, right, but this is Ryley Walker we’re talking about — the Very Serious Musician who writes Very Serious Songs and does Very Serious Things like 55 minute psych-improv blowouts with Steve Gunn and Ryan Jewell. This is Ryley Walker, who does a 2LP song-by-song cover of an unreleased Dave Matthews album as his second record of the year — a cover album so good that it convinces music snobs that yes, Dave Matthews is actually a pretty darn great musician. Come for comedy if you must, but become lifelong believer because of the music.

This was Ryley’s second of four residency shows this month at Union Pool. In addition to a truly hilarious extended riff about garage bands at SXSW circa 2009 (with a note-accurate parody song included) and Chicago bands who fail to get picked up by Touch N Go (with a note-accurate parody song based around the riff from June of 44’s “Dexterity of Luck”), Ryley and drummer Jewell delivered a new jam (title TBD), a very familiar cover (“If I Were A Carpenter”), songs from the exceptional 2018 LP Deafman Glance, and “Primrose Green,” from the 2015 album of the same name that seems like aeons ago musically. Whether or not certain naysayers at the time made lame Van Morrison comparisons (based as much on the album’s cover art as its sound), many of those songs are really good, and it’s a joy to see them coming back in the rotation.

As I’ve mentioned before, what feels like the biggest difference from the 2015-era shows is how Walker’s live renditions more closely match the album’s style. Sure, it’s still “sad acoustic guitar indie folk man” music in a sense (as Walker put it), but “Telluride Speed” and “Spoil With the Rest” were played here more or less in the style of the album versions, versus the 14-minute jam version of “Halfwit In Me” that’s long been a tour staple. I don’t know if it means that Walker feels more comfortable with the Deafman songs as the band played them in the studio, or if these songs are just waiting their turn for the extended treatment, but either way, it’s working.

This show also features a hilarious story about taking acid in relation to a King Crimson concert (listen to the story) and some self-deprecating musings about Primrose Green. This might be the first show I’ve witnessed by a serious musician that almost seemed to spawn a new genre: sort of a Yo La Tengo Hanukkah set with a comedian, except that the comedian appears during the set.

There are two more Tuesday nights this month where you can catch Ryley Walker at Union Pool, with more special guests promised. Based on the first two, it’s pretty clear that you shouldn’t come with any preconceived notion of what you’ll hear, but be prepared to enjoy yourself. Tickets for next week’s show are here.

Doug Graham once again outdid himself behind the board. Combined with my Schoeps MK5 mics, it’s yet another excellent recording for you to enjoy.

Download the recording from its Live Music Archive page

Ryley Walker
2019-03-12
Union Pool (Residency Night 2)
Brooklyn, NY USA

Recorded and produced by acidjack

Soundboard (Engineer: Doug Graham) + Schoeps MK5c (XY, at SBD, DFC)>KC5>CMC6>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.2.2>FLAC ( level 8 )

Tracks [Total Time 1:04:03]
01 [intro]
02 The Halfwit In Me
03 [diaper rap]
04 [new jam 1]
05 Spoil With the Rest
06 [garage rock and Thrill Jockey rap]
07 Telluride Speed
08 [King Crimson rap]
09 If I Were A Carpenter [Tim Hardin]
10 [primrose rap]
11 Primrose Green

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Dodgeball: September 9, 2018 Trans-Pecos

December 2, 2018
By


[photo by nyctaper]

Back in the last decade when every sub-genre of music had a silly moniker, a particular type of intelligent polyrhythmic punk was clumsily called “math rock”. These days there aren’t really blogs around anymore to invent awkward genres in lieu of actually reviewing the music, but the descendants of the bands who got tagged as “math rock” are having a heyday of sorts. Boston’s Pile seems to be the granddaddy of this little movement, which also includes bands like Spirit of the Beehive, Palm, and Brooklyn’s Dodgeball. In the several weeks since this September show where the band exhibited the best traits of the current crop of mathies — strong sense of rhythm, challenging but rewarding melodic structure, and a great songcraft — Dodgeball released a new four-song EP, three tracks of which appear on this recording. The EP Turns Out I Was Just Really Bored continues the evolution of a band we expect to continue to grow in stature to the point where these cozy nights at Trans-Pecos will likely be a thing of the past.

I recorded this set with the Schoeps capturing the onstage sound mixed with a solid board feed. The recording really captures the energy of the set quite well and we think it sounds great. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Dodgeball
2018-09-09
Trans-Pecos
Queens NY

Digital Master Recording
Soundboard + On-Stage Audience Matrix

Soundboard [Engineer Eric Lemke] + Schoeps CCM4u’s > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (post production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 26:04]
01 Edging
02 Swayze
03 Cig Bowl
04 Veggies
05 Robert Parsnip
06 Palm
07 Rock Song 1
08 Nu

PLEASE Support Dodgeball: Bandcamp | Facebook | Twitter

Pylon Reenactment Society: July 1, 2018 Mercury Lounge

July 18, 2018
By


[photos by Chris Sikich]

Pylon’s influence on their contemporaries is indisputable. Indeed, over the years REM has consistently cited Pylon for their positive impact on the 1980s Athens scene. What’s become more clear in the intervening years is that Pylon’s influence is more vast than their local time and place — their revolutionary sound can be heard in new bands even today. Pylon was enjoying a bit of a renaissance in their third reunion period of 2007-2008 when tragically guitarist Randy Bewley suffered a heart attack and passed away at the age of 53. At that point, the band was formally retired and it seemed as if Pylon’s music would only live on in recordings.

After a few one-off local performances, in 2014 lead singer Vanessa Briscoe Hay re-formed the band under the moniker Pylon Reenactment Society. With the blessing of her two former bandmates Michael Lachowski and Curtis Crowe, Vanessa compiled a group of performers from the Athens scene who were both intimately familiar with the music and personally known to the band. Guitarist Jason NeSmith and bassist Kay Stanton were not only members of Athens mainstays Casper & the Cookies, but were also bandmates with Vanessa in Supercluster. Drummer Joe Rowe was a founding member of Athens greats the Glands, who suffered their own deep loss with the 2016 death of leader Ross Shapiro. Vanessa also added a new touch with this new configuration, as her friend and University of Georgia music professor Damon Denton fortifies the sound of PRS with skillful keyboards. So with friendship, familiarity, and a common ethos, its easily understandable that Pylon Reenactment Society has generated universally positive reviews as both an tribute and a celebration of Pylon, and a contemporary band with its own story to write.

Pylon Reenactment Society doesn’t come North very often, but we were fortunate to catch this month’s appearance at Mercury Lounge, a venue where I captured the original band in 2007. With a full crowd there to party, PRS brought the goods — an animated set of old Pylon classics and two new numbers all performed with the precision the songs require but this a new touch from a different skilled set of performers, all fronted by the inimitable Vanessa Briscoe Hay. The set began with “Driving School” and “Volume” from the first Pylon record, 1980’s Gyrate. Indeed, the show would include almost all of the first album and the entirety of Side A of the band’s second album Chomp. The set even included uber-rare b-side “Altitude”, a song with which we were unfamiliar until the fantastic release in 2016 of Pylon Live (Chunklet). With a twenty-song, ninety-minute set, Pylon Reenactment Society gave the crowd of old and newer fans all that could have been asked for — a chance to relive the old classic material in a new configuration with plenty of heart. We hope they’ll be back North again soon.

I recorded this set with the Schoeps cards set up next to the soundboard and mixed with an excellent feed and the sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Pylon Reenactment Society
2018-07-01
Mercury Lounge
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Schoeps CCM4u Cardioids > Sound Devices 744t > 2 x 24bit 48kHz wav files >
Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:28:45]
01 Driving School
02 Volume
03 Look Alive
04 Cool
05 Messenger [new song]
06 Precaution
07 K
08 Italian Movie Theme
09 Human Body
10 [band introductions]
11 Working Is No Problem
12 Danger
13 Altitude
14 Buzz
15 Crazy
16 Try To Do That [new song]
17 Feast On My Heart
18 Beep
19 [encore break]
20 M Train
21 Dub
22 [banter – thanks]
23 Stop It

PLEASE SUPPORT Pylon Reenactment Society: Website | Bandcamp | Buy Pylon Live

King Gizzard and the Lizard Wizard: June 16, 2018 Brooklyn Steel

July 2, 2018
By


[photos by PSquared Photography]

One of the most advantageous aspects of our involvement in this site is our access and exposure to the world class music at a time before those bands hit it big. When it comes to King Gizzard and the Lizard Wizard, we were there at Day One of their time in the US, including seeing their first U.S. show at McCarren Park, a series of shows at Baby’s All Right, a semi-private Halloween party in a loft, their first show at Bowery Ballroom, and the “secret show” at Baby’s later that week. The three King Gizzard shows we saw in 2015 corresponded to the new music that would eventually become their major label debut and breakthrough album, 2016’s Nonagon Infinity (ATO Records). But it was in 2017 when The Gizz took their career to the next level, accomplishing a feat that will likely never be repeated — the release of five quality albums in one calendar year.

Its been two years since I last saw them in NYC and while much has changed, King Gizzard are still very much the same band. Although it wasn’t Baby’s, the three sold out shows at Brooklyn Steel were very much fan-friendly affairs with the band playing a very democratic selection of material. The show we recorded was the middle night of the three and fortunately for us contained an homage to the “old days”, a long “Head On / Pill” segue that contained long bits of three older numbers and a few other teases. We’d like to think it was the Gizz’s acknowledgement of how important those early days in New York were for the band’s career, days we captured here and remember well.

I recorded this set with the Schoeps cards set up inside the soundboard cage and mixed with a superbly mixed and well balanced soundboard feed. The resulting blend yielded another superb recording from this excellent sounding room. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

King Gizzard and The Lizard Wizard
2018-06-16
Brooklyn Steel
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Schoeps CCM4u Cardioids > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:29:17]
01 Rattlesnake
02 Greenhouse Heat Death
03 Digital Black
04 Vomit Coffin
05 The Lord of Lightning
06 Alter Me I
07 Altered Beast II
08 Crumbling Castle
09 The Fourth Colour
10 Deserted Dunes Welcome Weary Feet
11 The Castle In The Air
12 Muddy Water
13 The Wheel
14 Robot Stop
15 Gamma Knife
16 People-Vultures
17 Head On-Pill
18 Cellophane
19 Sea of Trees
20 Am I In Heaven
21 Pill (Reprise)

PLEASE SUPPORT King Gizzard and the Lizard Wizard: Website | ATO Records Site | Bandcamp

Guerilla Toss: June 19, 2018 Union Pool (Residency Night 3)

June 28, 2018
By

The phenomenal Brooklyn band Guerilla Toss graced the hometown crowd with a monthlong residency at local haunt Union Pool that found the band trying out new songs and compelling covers, and generally driving the locals wild. This band’s bread and butter has always been the live setting, but these shows put the band at a new level. Against the backdrop of sick visuals from Macrodose, Kassie Carlson whipped the room into a frenzy, culminating in a room wide mosh pit during set-closing “Polly’s Crystal.” Whipping from one song straight into the next for almost the entire hour, the band served up sixteen songs that included an ESG cover and the new numbers “Come Up With Me” and “Green Apple.” In case you were worried, I think we can expect their next release to meet or exceed the outstanding GT Ultra.

This recording combines engineer Doug’s awesome house mix plus my Schoeps MK5 mics from the center of the balcony. The sound is excellent. Enjoy!

Download the complete show from its Live Music Archive page: [MP3] | [FLAC]

Guerilla Toss
2018-06-19
Union Pool
Brooklyn, NY USA

Recorded and produced for nyctaper.com by acidjack

Shoutout to NCArchive for recording/posting three of the nights of this series and for the setlist

Schoeps MK5 (XY, FOB, DFC)>KC5>CMC6 + Soundboard (engineer: Doug)>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC (compression, fades, limiter)>Audacity 2.0.3 (track, amplify)>FLAC ( level 8 )

Tracks
01 Betty Dreams of Green Men >
02 Erase You [ESG]>
03 TV Spell>
04 Operate >
05 Come Up With Me>
06 TV Do Tell [Jane La Onda Cover]>
07 Grass Shack Pt 1>
08 Green Apple
09 Diamond Girls>
10 Skull Pop>
11 Drip Decay>
12 Multibeast TV>
13 Billy Blood Idol >
14 Dog In The Mirror
15 [encore break]
16 Polly’s Crystal

PLEASE SUPPORT Guerilla Toss: Bandcamp | Facebook | DFA Records Page

Deer Tick: June 9, 2018 The Junction Long Beach NY – Brull Foundation Benefit

June 17, 2018
By


[photos by Kurt Christensen]

The Tommy Brull Foundation and Deer Tick have grown together over the years since the band’s appearance at the Foundation’s first fundraising concert under the “Shine A Light” moniker in 2011. The Brull Foundation has more than a decade long record of providing funding and leadership for a variety of inspired causes, all motivated by the work of the late Tommy Brull, who dedicated so many of his days to working with the disabled at Camp Anchor in Lido Beach. Last weekend’s event was organized to fund a special needs playground in Rockville Centre and the concert having sold out well in advance, the Foundation again achieved its goal. So that by the date of the show, it was time to celebrate.

Deer Tick themselves also have a decade’s worth of work under their belts. And with time, the band itself has changed in personnel and approach, including the recent departure of keyboardist Robert Crowell. While the quartet still enjoys a good time, Deer Tick’s most recent double album release (Deer Tick Vol 1 and Vol 2) represents the most contemplative material of its catalog with issues such as sobriety, marriage, and fatherhood elevating the focus of the band’s lyrics. And not surprisingly given the surnames of all four members of the band, Deer Tick seems to have rediscovered its Irish roots, which on this night included a Pogues cover and a traditional Irish reel in the closing segment of Ian O’Neill’s “Hope Is Big”. We were also fortunate to hear John McCauley jamming on “Dirty Old Town” on the mandolin backstage before the show. The show however was all inclusive, and the setlist was a fine retrospective of the band’s entire career including four numbers from as far back as 2007’s War Elephant and moving forward to a good half dozen tracks from Vol 1 and Vol 2. In between there were interactions with the exuberant crowd, interplay between the band members, acknowledgements of the Brulls, and a lengthy and well-performed classic Deer Tick show. All things considered, this night may have been the ultimate performance of Deer Tick’s four Brull shows, and the good news is that its almost certainly not the last pairing of these two excellent groups of people.

I recorded this set with the Schoeps cards set up at the stage lip and mixed with a soundboard feed. The sound quality combines the liveliness of the sound at the stage fortified by instrumentation and vocals in the board feed. The final result is a superb recording. Enjoy!

Download the Complete Set [MP3] / [FLAC]

Stream the Complete Set (minus banter):

Deer Tick
2018-06-09
The Junction
Long Beach NY

Digital Master Recording
Soundboard + On-Stage Audience Matrix

Soundboard + Schoeps CCM4u Cardioids > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:35:10]
01 Don’t Hurt
02 Dream in the Ditch
03 [banter – fire alarms]
04 Clownin’ Around
05 The Bump
06 Easy
07 S.M.F.
08 Cocktail
09 Card House
10 Hope Is Big
11 Twenty Miles
12 Baltimore Blues No. 1
13 Art Isn’t Real
14 Dancing In The Dark [Springsteen]
15 The Rock
16 Wants Needs
17 White City [Pogues]
18 Look How Clean I Am
19 These Old Shoes [Chris Paddock]
20 Mange
21 [encore break]
22 Jumpstarting
23 Sleepwalk [Santo and Johnny]
24 Ashamed
25 You Are So Beautiful [Billy Preston]

Please SUPPORT Deer Tick: Website | Buy Albums | Bandcamp

Alejandro Escovedo and Richard Barone: May 23, 2018 Berlin NYC

May 28, 2018
By


[photo from Alejandro Escovedo Instagram Page]

Alejandro Escovedo is in the midst of a five-week NYC residency that has featured as guests some of the most renowned musicians in the history of New York music, including Sylvain Sylvain, Lenny Kaye, and Richard Barone. The residency was the brainchild of Escovedo, Jesse Malin, and Diane Gentile, and is a celebration of Alejandro’s long-time connection to NYC (with The Nuns he moved here in 1978), but is also a tribute to musical heroes Lou Reed and David Bowie, and is also in support of his latest album, the outstanding Burn Something Beautiful. We chose to capture the night at Malin’s club Berlin NYC with Richard Barone, a long-time favorite of this site. Oh, and what a show it was. Alejandro was as ever a gracious host, and the two headliners basically shared the lead microphone throughout the night, alternating between Escovedo material, Barone material, and a selection of classic covers of Velvet Underground and David Bowie. There were also heartfelt tributes, crowd interaction, and a guest spot from Barone’s partner in the Bongos James Mastro. Interestingly, the set also featured two songs from the great lost classic, the Barone/Mastro duo album Nuts & Bolts. Through it all, the old punks in the crowd were boisterous in their support (with a few over-served unfortunately) and the performers reflected back the love and support. Alejandro Escovedo has one show left in this residency, May 30 at Bowery Electric, attendance much recommended.

Many thanks to Alejandro Escovedo for permitting this show to be recorded and to Nancy Rankin Escovedo and Mike Thompson for making the arrangements!

I recorded this set with the Schoeps cards mounted to the back left of the soundboard booth, which is only about 15 feet from the stage in this intimate venue. The mics are mixed with an excellent feed from house sound tech Mike, and the resulting mix is quite excellent. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show (songs only – talking tracks via download):

Alejandro Escovedo and Richard Barone
2018-05-23
Berlin
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer Mike] + Schoeps CCM4u Cardioids > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:30:01]
01 [introduction]
02 Gravity – Falling Down Again
03 Street Hassle [Lou Reed]
04 The Bulrushes
05 Train Round The Bend [Velvets]
06 [Richard meets Lou Reed]
07 I’ll Be Your Mirror [Velvets]
08 Sensitive Boys
09 [Falcon introduction]
10 Flew A Falcon
11 Moonage Daydream [Bowie]
12 [band introductions]
13 Sister Lost Soul
14 [Candy introduction]
15 Candy Says [Velvets]
16 [James Mastro introduction]
17 I’ve Got a Secret
18 Number With Wings
19 Always a Friend
20 [thanks]
21 All the Young Dudes [Bowie – Mott the Hoople]
22 [encore break]
23 Rock and Roll [Velvets]
24 [outro]

PLEASE SUPPORT Alejandro Escovedo and Richard Barone: Website | Website | Buy Music | Buy Music

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nyctaper.com is a live music blog that offers a new paradigm of music distribution on the web. The recordings are offered for free on this site as are the music posts, reviews and links to artist sites. All recordings are posted with artist permission or artists with an existing pro-taping policy.

All recordings and original content posted on this site are @nyctaper.com as live recordings pursuant to 17 U.S.C. Section 106, et. seq. Redistribution of nyctaper recordings without consent of nyctaper.com is strictly prohibited.

nyctaper.com hereby waives all copyright claims to any and all recordings posted on this site to THE PERFORMERS ONLY. If any artist posted on this site requests that recordings be removed, those recordings will be removed forthwith.