RE: Pig's Pal

It sounds to me like there's some sort of harmonizer, perhaps one of the filters mentioned in info about the remaster job, on the whole show. I don't think Healey has anything to do with this, tbh.

This harmonizer adds much needed definition to the bass and kick drums, but it seems to be reacting to existing frequencies in the recording. Because of this it can sometimes be heard reacting also to Jerry's guitar, in addition to Bobby's MC work between songs.

I can hear how this processing has improved the listenability of the recording in many ways, but elsewhere it adds a very unnatural, and somewhat distracting upon closer listening, effect where it, perhaps, should not be.

Sampling only a few seconds of this remaster in comparison to the original upload, this seemed like an improvement. The more listens it's given, it seems more a case of six of one, half dozen of another.

The attempt is definitely appreciated. Remastering is a tricky, but tempting, affair.

Fall '76 is good enough that it's no surprise that there's a great-but-overlooked show. The main reason is because only two AUDs circulate, and neither suffice today's standards (i. e. younger ears). Given that two tracks were officially released in perfect quality, one assumes the entirety will be released sooner or later (not sure if Lemieux confirmed vault status). In the meantime, an adjusted ear can grasp the quality of playing. And though the sound quality is less than average, you can still hear every player. Old schoolers can probably hang, but this is not just a hidden gem, but a buried gem; an under a blanket gem. This venue was actually called the Riverfront Coliseum at the time (now U.S. Bank Arena). They played it again in '89.

First Set. The beginning of Promised Land has gone missing. The source is poor but the playing brilliant. And that will now continue - they can do no wrong. The better source starts at the excellent Minglewood. Row Jimmy is a touch sleepy but Tennessee Jed is supernal - maybe the year's best. Brown Eyed Women is wonderful, as in you can't ask for better. We have the last two of the set in top quality. Let it Grow is uptempo and versatile, and Donna is good. The stopping-on-a-dime for 1st set Drums is crazy. Instead of being the set-ender, it trannies into a decent Might as Well, with a nice enough end jam. CinCin got treated.

Second Set. Music Never Stopped is an astonishingly perfect set opener. There are a few muffed lyrics in Candyman, but a beautiful solo. After an Addams Family tuning, Samson is probably too muddy for certain, but sounds like it's aces; the 2nd solo is unreal. There's a great Must Have Been Roses and a solid Big River, and then the set falls off. But it was a great run of stuff nonetheless. Friend of the Devil is unlikely to excite anybody and the rest is average to draggy (Stella Blue). The Other One takes some vamping to get through and Sugar Mag is rough by the end. There was no encore.

1st Set:  A
2nd Set: C
Overall = 4 stars

Highlights:
Promised Land - poor source/brilliant playing
They Love Each Other - sparking
Minglewood Blues - intense
Tennessee Jed - exciting
Brown Eyed Women - probably A+
Let it Grow - uptempo and versatile with a crazy section
Music Never Stopped - perfect
Samson & Delilah - muddy but you can still hear magic

SOURCES: The 134416_aud_moore_weiner_droncit is the best version of the two AUD sources that exist, the Jerry Moore (actually it's a partial composite: the other source is incomplete but provides the first two tracks). After Samson it runs slow, needing +1% pitch until Sugar Mag, which needs +2%, and the balance is mostly off throughout. It's still up-mastered and an improvement; we take what we get. Let it Grow & Might as Well are on Spirit of '76.

This is an excellent recording and show all things considered.
The song I will always come back to this show for is the Stella Blue. The band plays an awesome rendering here. It is simply a "best ever" kind of version. Brown Eyed Women, Let It Grow and Might As Well are amazing as well. These fall 1976 shows are all worth checking out and not to be missed.

Ha. Fat vocals indeed. Sounds like Healey used an octave divider on Bobby's vocal on El Paso. He forgot to turn it off and you can hear the Dark Lord lower octave on Bobby's post song announcement about "throwing things", then again on the "step back" speech. First time I've ever noticed it. Sounds like it might be on the bass as well during much of the show with an octave above being activated.
Any hoo, enjoying the you are there boom room quality of this tape. Good accompaniment for sanding the kitchen cabinets.
Fond memories of the slowed down Friend of the Devil going along well with a jug of Almaden Mountain Chablis.
Thanks Jerry Moore, Droncit , and Archive.org