Mexico# | 2004-07-23 | moe.

2:56:17

Taper:

Scott Bernstein

Transferrer:

Scott Bernstein

SHNID:

moe2004-07-23.tlm170.flac16-44

Source:

Audience DAT

Lineage:

Original master DAT recording: Neumann TLM170s (hypercardiods just in front of soundboard) -> Apogee AD1000 (16 bit/48khz) -> Teac DAP20 (master tape) DAT playback: Sony R500 -> Sound Devices 722 digital input (@24/48) Mastered: Soundforge Pro 12.1 - *All file manipulation in Soundforge done at 24 bits*. File processed in Soundforge for clap/whistle/yell scrubbing; volume normalization; 24 -> 16 bit dither using POW-r Dither with POW-r #3 noise shaping; resample to 44.1 interpolation accuracy 4 w/anti-alias filter. Tracked in CDWav. Tagged in Tag&Rename 3.9.15

Taper Notes:

View Notes* = w/Jon Gutwillig of The Disco Biscuits on guitar
+ = w/Rob or Al quietly singing some unintelligable lyrics in the opening section, also "Bearsong"/"In-A-Gadda-Da-Vida" (Iron Butterfly) / Bathtub Gin (Phish) mash-up jam starting at 4:08 in Wormwood and continuing into She Sends Me intro
^ = Al congratulates Rob and April Hager on their 10th wedding anniversary mid-song; additional Bathtub Gin jam@6:37
~ = With Bon Lozaga of Gongzilla on guitar

Chris Robinson and New Earth Mud, Big Head Todd and the Monsters, The Brakes opened.

I spent weeks meticulously scrubbing OVER 562 loud local yells, whistles, and claps from this recording for all of our enjoyment. Hope you appreciate the hard work I put in!

Recorded, transferred (5/15/2012), tracked (7/29/2019), and mastered (11/29-12/14/2019), and posted (12/15/2019) by Scott Bernstein

Taper notes:
 200th entry in my BARN series, a massive, spectacular show in and of itself and it just happened to be my 34th birthday!

Onto this massive show itself -- setting the scene, it was a Friday night in Atlantic City.  Traffic was particularly TERRIBLE -- the drive took forever, and apparently Rob and Chuck were also stuck in the same traffic getting to the show.  Amazingly since there were 3 opening bands -- despite the fact that we were sweating out whether we were going to make it there in time for the start of moe., we still got there with plenty of time to see most of the Chris Robinson New Earth Mud set (but did not record it).

These moe. sets turn out to be FEROCIOUS -- the band clearly came ready to play, opening with a massive 18+ minute ROCK version of Kids which segues nicely into YOY with some slight lyric changes.  After Down Boy, the band drops another massive 20+ version of Buster, featuring a drop in from Philly local -- ‎Jon Gutwillig on guitar.  Then we're in for some more rock with Not Coming Down and Wormwood, which lead into the (now retired) She Sends Me which contains jams on moe.'s own Bearsong, Iron Butterfly's In A Gadda Davida, and a jam on Phish's Bathtub Gin -- sometimes all at once!

After setbreak, and a quick mention of Headcount, the band comes back with their friend Bon Lozaga of the band Gongzilla on guitar for an expansive (17+ minute) take on Mexico and a memorable cover of Radiohead's Karma Police, and then after he leaves, they take us for a nice journey to jamemd out Californ-IA and a reprise of the show-opening Kids.  They wrap up the second set with 30+ minutes of The Faker and an incredible Rebubula.  Apparently they were not bring rushed out of the venue due to time constraints, as they deliver a 17+ minute Timmy Tucker as an encore!  What a show -- just under 3 hours of music.

The band really really delivered an outstanding performance.

It should be noted that there was some incredibly zealous clapping fan or fans apparently standing right in front of the tapers' section on this night, as I noted constant, distracting loud claps through many songs including Buster, Rebubula, and others.  I recall it being a very LOUD venue, so this person or persons must have been very close to all of the tapers.  I spent over 3 weeks working on the excruciating task of scrubbing out approximately 562 loud, annoying claps (and some yells and whistles too) from this show so we can all enjoy the awesome music without hearing the annoying clappers.

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