The Wayne Shorter composition, best known as the title track on the 1967 Miles Davis album

flew out there. the tiniest room (one of them at least) & it was totally worth it. There r videos of one night maybe more floating somewhere. Just like bellbottoms came back maybe that'll show up soon. ha ha. I remember it being tight and sick as ****! Well worth the flight there. Thank god they moved Quioxtes somewhere else. Unless U like wonderin if your motel room was gonna get pounced upon by the popo lookin for the crank/crack dealer. All in good fun. :)
get this show now... well worth it...

A friend gave me this show, I'd heard SK with various GD offshoots, had heard Ray White throughout the years with FZ. Ring Around The Moon is what hooked me forever. I'd heard local bands recorded using on-stage mics but never bands of this calibre. Wouldn't you love to hear (insert band here) recorded using this technique?? The results are incredible, this is one fine sounding show. Seems like this show is the best of the three nights but there are other unique moments in the other shows too, get 'em all!

This is a great show. I had an old copy that was tracked out for 74min discs and took 4. It became scratched through use, so I am glad to see the same recording here. The adjustments made to the track listing for 80min cdr are incorrect, you will have to throw d3t01 onto the end of d2 unless you have a 90min for the third disc. I just love the whole beginning of the 2nd set...

M@

SET ONE
d1 <66:51>
1. Bad Hair
2. From The Bass Up
3. Nine >
Ring Around The Moon >
Nine
4. Poonk >
Express Yourself >
Poonk,
d2 <79:34>
1. If You Only Knew
2. Footprints

SET TWO, d2 cont.
3. A New Africa
4. Cissy Strut,
5. ? (slow song with Bobby on fretless)
6. Power Of Soul
d3 <68:00>
1. Point Of No Return
2. Mr. Potato Head

ENCORE:
3. It's Up To You
4. City Of Tiny Lights

KVHW is:
steve Kimock (lead guitar)
bobby Vega (bass)
alan Hertz (drums)
ray White (vocals, rhythm guitar)

The source:
As you can see, this source is recorded by a set of the famed AKG c61 tube mics, which are truly magic pieces of equipment in the hands of an expert like Jimmy Stiefel. I've never heard a bad recording by the man, or Pat Cooper, who wields the same mics. Doug Greene points out an interesting piece of history on the mics: that Zero's band taper from roughly 1989 to 1996, Steve Fink, fell in love with the c61s and picked up as many of them as he could all over the country, later selling them to the tapers who would continue the XY stage c61 legacy in his absence. The accuracy and warmth of these mics are almost unparalleled. This source is a stage XY recording, but for whatever reasons you can hear the vocals better than you might on your typical stage source. The mics truly shine at low dynamic levels, capturing blissful delicacy in a way few mics can match.

The show:
The show opens with a scorching Bad Hair. You can kind of tell there's going to be trouble from the get-go. Plenty of the usual suspectsin the setlist; 9 > Ring > 9, Poonk> Express > Poonk, all done with the high energy and zest you would expect from a a gelled band of seasoned professionals. If I had to characterize the show in one word, that word would be "funky." The boys are just having fun doing what they do best, it sounds very natural. There is stlil quite a bit of exploration (after all, Steve Kimock IS the guitarist, right?), but this is definitely an ass-shaker, full of roots music. For me, the show starts an ascent into psychedelic bliss during Mr. Potato Head's infectious weirdness that continues (after band introductions) relentlessly to an awe-inspiring crescendo in the always-impressive It's Up to You. After some heavy duty noodling that is almost unbearably rockin at around ten minutes in, Steve Kimock reigns in the band and they spend the last several minutes of the song engaged in a gentle psychedelic pong match, effortlessly reacting to one another, gently bringing the listener down from the brutal exposure to a storm of K-waves. As if to continue letting you catch your breath, KVHW ends it on a lighter note, with a still-furious City of Tiny Lites that would do Frank Zappa proud.

I would give the show itself four and a half stars, but the intimacy of the pristine c61 source pushes this baby to a full five stars. Five and a half. Get it!