A request from Dave_Sez. Excellent recording. Thanjs to Terry Hammer for recording and teetering fir sharing on Dime.
Original Info File:
THTP Release 121
Recording chain:
Stage mics > splitter (split to house snake/SBD and TH snake) > TH dedicated snake >
Peavy MkII 12 channel mixing board (10 channels snake, 2 channels audience mics) >
AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape
Archival Process:
1999: Sony TC-KA3ES > TDK SA-90 tapes playback (NO Dolby) > BBE 462 Sonic Maximizer (to clean up tapes) >
Tascam DA-30 DAT > HHb DAT-125 DAT tape
2002: HHb CDR-850 Professional CD Recorder (In real time) > HHb CDR74 Gold 100 year archival grade CDRs
2005: Transfered to HDD in AIFF file format
Dime release processing: AIFF Master Files > FFMPEG > 16 bit FLAC 8 > tagging, cover artwork, checksums.
Recorded, preserved, and master AIFF files provided by: Terry Hammer
Setlist:
01. Saturday's Kids
02. Burning Sky
03. It's Too Bad
04. Thick As Thieves
05. The Modern World
06. Mr. Clean
07. Butterfly Collector
08. Private Hell
09. Away From The Numbers
10. Dreams Of Children
11. Little Boy Soldiers
12. Smithers-Jones
13. In A Strange Town
14. When You're Young
15. Eaton Rifles
16. Down In The Tubestation At Midnight > encore applause
Encore:
17. Heat Wave
18. All Mod Cons
19. David Watts > encore applause
Encore 2:
20. To Be Someone
21. A Bomb In Waldorf Street
Length: 1:14:55
Band:
Paul Weller - bass, vocals
Steve Brookes - guitar, vocals
Rick Buckler - drums
Notes:
* I mean, it's the Jam, what do I really need to say? Ok, I did not realize that they, like XTC and Ultravox, were in fact Pre-Punk bands, not post punk, punk, art-punk, etc.
* If it matters, Setting Sons is one of my all time favorite albums. A testament to the value of a good eduction, extraordinarily literate, pulling from all kinds of threads of British poetry and the classics, and weaving them all together to form the stunning tapestry that was Setting Sons, and this would have been, roughly, the Setting Sons tour.
* The Dreams of Children was their new single in Britain.
* About the Jam: https://en.wikipedia.org/wiki/The_Jam
"The Jam were an English mod revival/punk rock band during the 1970s and early 1980s, which formed in 1972 at Sheerwater Secondary School in Woking, in the county of Surrey.
While it shared the "angry young man" outlook and fast tempo of the contemporary mid-1970s' British punk rock movement, in contrast with it the band wore smartly tailored suits reminiscent of English pop-bands in the early 1960s, and incorporated mainstream 1960s rock and R&B influences into its sound, particularly from The Who's work of that period, and also drew influence from the work of the Kinks and the music of American Motown. This placed the act at the forefront of the 1970s/1980s nascent Mod Revival movement. "
* And really, what more do you need to know? It's the Jam, it's a great show, check it out!!
* This brings the THTP main series releases to a close, happy trails, do something with your lives, remember:
From 'Punk: Rock/Style/Stance/People/Stars':
"It's about doing something
and getting off your ass
saying something
seeing what a
shitty place
this is and
what a
Jam place
it could
be"
Think about that. This is what real punk rock was all about, forget the stupid crap that came in the following years, the boring derivative pale imitations, the endless hordes of safe suburban kids not inventing anything of their own.
That short statement is the simplest explanation of the vast sea of creativity that was uncorked in the first wave of 'pre', 'post', and 'Punk Rock'. The reason they had to invent silly labels like post-punk (which often started, lol, the very same year as 'punk'), was because people didn't get how wide and creative the pool of talent being pulled from really was, around the world, but especially in the bigger cities. The Offs, No Sisters, Tuxedomoon, the Units, the Jam, were as 'punk' as the Mutants, DOA or VKTMS, because they were all totally true to themselves, and tried to see what a shitty place this is, and what a Jam place it could be....
Look for it around you, it never goes away, but it never has a real label, and it's almost always underground, has to be sniffed out, it's a never ending quest, and there is no better quest in the world to undertake, nor will you ever find better music than it's creating, to this day. It was here before you, and it will be here long after you are gone, but if ever a day comes when it is gone, that day will be a very, very, dark time indeed.
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No distribution in lossy formats!!
No selling!!
No bootlegging!!
No remastering!!
Yes sharing. Definitely share.
Support the artists when or if they play, and buy their records/merchandise.
Please correct any errors or oversights in this information in the comments section so the information can be as accurate as possible.
If you can find related materials like flyers, posters, ticket stubs, even photos, etc, please add them in a comment and I will add them to the main release folder, so that can be included on the next re-seeding. Every bit is welcome, and as I am time constrained on this project due to the amount of material, I cannot spend as much time on each release doing research as I would like, so if we can add to and improve the information and release contents during this series, that would be great.
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About Terry Hammer and the THTP:
Someone put my feelings very well about these recordings in the following quote. I can't really improve on their words beyond noting that these recordings sound absolutely and utterly stunning, and I consider myself incredibly lucky to be able to present these to you here in their original, first generation, lossless hi-fidelity versions, for the first time ever.
"[These recordings were] recorded and preserved by collector/engineer Terry Hammer, for broadcast over the UC Berkeley station KALX and several others from the 1979 -1981 period. Anyone who spent a night at one of these clubs knows how chaotic the atmosphere was. That he was able to, not only get a decent feed from the sound mixing board, but was also able to get clean recordings was something of a miracle. And the fact this guy did it over and over again is pure dedication to the cause of preserving history for decades to come. Fortunately for everyone, he’s been making these gems of history available and their value as historic documents is inestimable. This is really exciting stuff and I am grateful for Terry’s foresight and deft skill."
src: https://pastdaily.com/2014/06/25/gang-four-live-american-indian-center-san-francisco-1980-nights-roundtable-concert-edition/
As Terry notes about the process of recording these shows: "Like all of my live recordings this was mixed direct to 2-Track Reel To Reel (and Cassette deck for backup and personal use) using headphones. Sitting in the club with the loud P.A. sound trying to drive the amp in my mixing board loud enough to hear what I was mixing.If you've ever been to a live concert,then,you know how loud it can be."
If you've ever been looking for an excuse to upgrade your sound system, these recordings certainly should provide you with some motivation, because they have incredible sound. And if you already have a quality sound system, you are in for a treat!! The audio goes straight to 20k hz, no losses I can detect. Due to the reality of tapes, even high end as used here, the low end starts at 47 hz.
And if you want to learn more about this incredible musical era, listen to the stuff you haven't heard, there are amazing gems in there.
Do we call these soundboards? Technically not precisely because this is not the house mix, these shows were mixed using a dedicated mixing board, with an additional 1 to 2 audience mics (1 for Mab because he needed 11 snake inputs), 2 at other clubs) in the mix. But I call it the Terry Hammer Tape Project (THTP) to make sure there is no doubt about the project's creator.
TECH:
Note that Terry made 2 master recordings (recording at the same time) when he mixed these shows live:
1: Reel to reel, for the radio stations:
Technics RS-1500 Reel To Reel (mostly TDK Audua L-1800 & LB-1800 tape with back coating or Scotch 206 / 207 with back coating. Maybe a few Maxell UD-XL). All the KALX shows went to KALX, they supplied the reel to reel tape.
2: For his own use, and as backup in case something happened to the reels:
AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape
Terry isn't sure, but thinks the audience mics he used maybe were Electro Voice EV-DS35's.
Info: http://www.bbesound.com/products/sonic-maximizers/482i.aspx
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- teetering