Part of a super-solid tour, it's the third show w/Brent and the second show w/The Beast. This was their 1st time at the Coliseum, which they would play 20 more times. They had previously been playing up the freeway, on William & Mary campus ['73, '76 & '78 - '82 was an exception as they played The Scope instead]. In fact, after '87 this was the only place they played in the whole state. This month/tour is either missing SBDs or they are poor quality, but if you can be picky with your sources and adjust pitch & EQ, there is some wonderful, gobsmacking playing in this show. If we had a clear Betty Board this would be a much-revered show. As it is, this one is for the AUD old-schoolers or the tech-hobbyist. The Live at Hampton RSD vinyl isn't worth using. The quality control of the pressing, the audio, and the cover art left some buyers shaking a fist. The SBD source is muddy, distorted and has varying pitch errors (some extreme), compounded by wow (all mastered intact on the vinyl). I used it to make a MTX of several songs and had to pitch correct it in 10-15sec chunks, as it sped up and slowed down outside that frame. It's not a plug-and-play show, requiring lots of intervention. But after making my own composite, I ended up with one of my favorites.

First Set. Half-Step is out-the-gate-great, with very strong playing - especially the finish. Franklin's keeps going, just so it can visit the heights, even if briefly each time. It trades punchiness for melodious. Jer goes and goes - albeit part of that is because when Brent doesn't bite Jer covers - but it all works, and the best parts are delirious. Jer is so on for Mama Tried & Mexicali that on the latter he eats the neck and spits out the frets. Candyman is tighter than paint. On Supplication Brent has stimulated Jer to the max position. The band is right with them, but check out the ensemble playing on Loser. Minglewood has Brent's first emphatic solo. The AUD is much better for Dough Knees, as the official has speed wobbles, and a very distorted mix (though it has better Phil). This would be the closer, but they are clearly feisty, and therefore give the set its own encore. Passenger is a raging though dynamic beast. They must've worn those poor people out with this perfected, crafted set.

Second Set. Though hard to appreciate on the vinyl, with the best AUD source Miracle is an indicator of another taut set. Bertha really scales the heights; the solo unbelievable. Estimated is a fully landscaped version. An intricate Eyes is way uptempo (the official release cuts the last minute). The drummers are already cruising The Beast. The rest is average '79, with a plodding Stella that has a nice enough solo and a long Around tease. By the end they are sounding done (except for Brent).

1st Set:  A
2nd Set: B-
Overall = 4½ stars

Highlights:
Mississippi Half-Step - full flair, fine finish
Franklin's Tower - from which view the heights
Mama Tried>Mexicali Blues - Jer spits out frets
Candyman - silky
Supplication - Brent stimulant
Loser - ensemble
Passenger - raging/dynamic
I Need a Miracle - taut
Bertha - scales a peak
Estimated Prophet - landscaped

SOURCES: The walker-scotton-miller_89120 is the Joani Walker AUD. It's the better source for Half Step, Candyman, Loser, & Minglewood. It has sudden BAL shifts and runs too slow, needing +2% pitch adjustment until Ship, then +1% for the rest. But it has better dynamics for those songs (with more Phil), once you deal with the wild BAL and EQ (it patches the gap at the end of Drums). The glassberg_motb_84825 is otherwise the preferable source. It's ostensibly an upgraded/EQd version of vernon_18878, but they are not the same mics/source (lineage error?). The 84825 has an 11sec reel-flip at the end of Drums, but improves nicely after EQ and adjustment for the fast pitch. It needs -1% through Mexicali and -2% for the rest. The official release has four from the first set and all of the second set except Drums/Space and the end of Eyes. It does not sound as good as the AUDs and needs lots of EQ & pitch nursing. The pitch errors are variable within each track, but can be averaged as needing: +1% for Loser; -1% for Minglewood, Don't Ease & Passenger. Miracle only needs -1% for the first half. Bertha needs -1% for the second half. You can't average Good Lovin' or Estimated because they have slow wow and need -1% to start and -2.5% by the end of each track. Eyes has wow plus larger pitch errors, running so fast on top of the uptempo version that it's Mickey Mouse. It needs -2.5% to -3%. Truckin' & Stella need -2% on average. Around needs -2%, -2.5% after about 1min, and -3% after the key change.

Unfortunately there is no board yet available of this show. Part of it was released on vinyl- why no just do the entire show?!?!

There are 5 aud versions here and this is the best of them The Charlie Miller one is nice and clear, but sounds artificial or sterile, this one has warmth. Well, that's just my opinion, other may like those better.

This appears to be a mouth of the beast (within the first 15 rows of the floor seating) recording by Barry Glassberg. I haven't listened to enough of these to tell whether they're noticeably different from the regular taper's section, but this sounds nice. Piano's up high, very audible.

Interesting interview by Gans with Glassberg, Moore and Bertrando at Cal Expo: http://www.gdhour.com/music/tapers.html
you can also check out www.motb.org for info about the mouth of the beast recordings. Sounds like a good project they're doing over there.

Hot show, excellent recording, check it out. I think it's sure to brighten the gloomiest of winter days!