06 May 2011

THE MUSIC AND PRESTON BLACK Mumford and Sons, Electric Picnic Festival, Stradbally, 5 Sept 2010.


From THE DEVIL AND PRESTON BLACK:

     "A few weeks ago I found a record at Isaac's up on Pleasant. Right next to Mick's. I was flipping through LPs and found this old record that had been pressed around the year I was born. On the back of the sleeve I saw my name. As a song title. I thought it meant something. I thought, maybe the songwriter was my dad just because we had the same last name. So I bought the record even though the track looked like a scratching post."
     I gave her an A.
     "So I started looking for the song. I had to know what the song said."
     From an open D string I hammered onto the E, then picked the C before strumming a few times.
     "In the process I found out a little about the place where I was born."
     I took a deep breath and picked out a slow, soft "Wildwood Flower". At the 'I will dance I will sing' part Katy stepped up to the mic and joined me.
     Right then and there an amazing thing happened. In these kids who threw down Jager by the pint every Friday, I managed to induce images of the buckwheat cakes and the lonely hollows they went back to every Saturday and Sunday. I had to let them know that I knew, and playing that song created a common ground. They were mountaineers not just in the hoodies and ball caps they wore to football games. That's why they sang "Country Roads" every week at the top of their lungs. The hall stood frozen, like in an old photograph. It was so quiet Katy could've played unplugged.


What is it about the old-timey stuff that keeps people coming back? Sometimes I think it's because, as Americans, we shed our ancestral identity to share in a national one. Some of our grandparents, or great-grandparents, took a lot of crap for speaking Czech or Croatian, or being Irish or Jewish. The melting pot began to taste like eggplant or tofu--any substance that absorbs flavors without releasing any of its own.

Then there's the guilt. Germans after World War Two. I'm sure the number of admitted German speakers dropped in the 40s and 50s. There's the slavery issue after the Civil War. And the ongoing mistreatment of Indians. Without getting to psychological, I wonder if we're celebrating this part of our culture because we can.

Folks who are into traditional music know there's been a scene for a hundred years. Through revivals and slumps it's never actually diminished in many places, but people on the outside of those worlds would never know that. I wonder why it took a group of outsiders (Brits) to bring this music to the mainstream.

Sometimes I think hipsters embraced Mumford and Sons because they let them have their 'ancestral' music back, without the trappings of Southern culture. Banjos without the Confederate flags. Songs about whiskey that doesn't come from Tennessee.

Maybe it's just because they write catchy tunes.

Download the show on Sugarmegs.


Mumford and son Electric picnic Festival stradbally 5 Sept 2010 Main stage 7-10-8-00-pm.

Rte in concert radio one 88.5 fm tx 26 sept 2010, Rte radio 2 live from stage 5 sept 2010 interview phathom fm 105 .


In concert 26 Sept 2010.

01 intro.
02 Sigh no more.
03 Awake my heart.
04 roll away your stone.
05 Nothing is written.
06 little lion man.
07 lover of the light.
08 Thistle and weeds.
09 White blank page.
10 The cave.
11 outro.

Interview phathom fm 105 Dublin arera 18 July 2010.

12 interview (Short).

Jenny Houston show Live from stage 5Sept 2010.

13 Nothing is written.
14 Little lion man.
15 Love of the light.
16 Thistle and weeds.
17 White blank page.
18 The cave.

Segments end.

Please support mumford And son with online or hard copy buy and enjoy this music.

Recived on a sony cfd s33l port unit ear out to line in via stereo fly lead audigy soundforge soundcard
split to wav files at 44 khz Traders little helper Flac front end compression level 8 to internet.


Comments

i have included both broadcasts form the festival the live one cuts in at 30 mins or so and the later one has the full set.
i find that the live from stage broadcasts can be diffrent to the later ones as there is no time to alter the sound etc.

02 May 2011

THE MUSIC AND PRESTON BLACK Pearl Jam, Madison Square Garden, September 11, 1998



From THE DEVIL AND PRESTON BLACK:

    "You know, I would've died for Joe Strummer or Eddie Vedder."

Pearl Jam was my band. Not Nirvana. Not Guns N' Roses. Kurt was too much a poster child for the new stuff. Pearl Jam were underdogs.

Maybe it was because Stone Gossard played a Strat. Not a Les Paul like Slash and not an ESP like Kirk Hammett. I played a Strat. Like Jimi and Clapton. Old guys. Everybody knew Strats weren't heavy. Then Pearl Jam releases Evenflow. Shut 'em all right the hell up.

Maybe it was because they maintained an element of control over their chaos. Punk held against a ruler. Maybe it's because Ed's lyrics sounded like poetry to my naive little ears. Like he really had something to say to kids like me.

Breath is played for the first time since 1994 at this show. Breath, from the SINGLES soundtrack, from the year I was in a band, the year I transferred to Cal, the year I became a bigger fish at the rafting outfitter, the year I met my wife and shed the trappings of high school in a big way. I found people who lived like I did. One of my clearest memories of Cheat season is Bo Harshine cranking Pearl Jam's Black out the side of his old van before putting on the river. My band.

Note the date. Guess that had a little something to do with me picking this show. For me, and a lot of people, the 90s ended in 2001. Maybe today will mark the end of the 2000s for some people. It's certainly the end of an era.

Download the show at Sugarmegs.

Pearl Jam
SV011 - "THREE YEARS IN NEW YORK CITY"
September 11, 1998
Madison Square Garden: New York, NY

**SECOND REMASTER**

Source: 2-source mix: [Schoeps MK5 (cardioid) > R-Mod > Sony SBM-1 > Sony PCM-M1 (right risers) > dat] + [Core Sound Cardioid > Sony TCD-D7 > dat] > cdr > dEdit > dEQ > flac

Digital Matrix Mix: "Sneaky Bastard" (mixed with Pro Tools)
Digital Editing and Remastering: Allen Robertson
Artwork: Allen Robertson

---------------------------
***DO NOT CONVERT TO MP3***
---------------------------

DISC ONE
01 Release
02 Hail Hail
03 Animal
04 Even Flow
05 Given to Fly
06 Corduroy
07 MFC
08 Habit
09 Faithfull
10 Daughter/(Beginning to See the Light)/(W.M.A.)
11 Wishlist
12 Nothingman
13 Immortality
14 Rearviewmirror

DISC TWO
01 Brain of J
02 Black
03 Do the Evolution
encore 1:
04 Breath (#)
05 State of Love and Trust
06 Off He Goes
07 Leatherman
08 Better Man/(Save it for Later)
09 Mankind
10 Baba O'Riley
encore 2:
11 Indifference (^)
12 Alive

---------------------------
***DO NOT CONVERT TO MP3***
---------------------------

(#) = first time played since Boston 4/11/94
(^) = performed with Ben Harper

Recording Notes:
The editing performed was to minimize the spots of static, clicks/pops, and handclaps. Many of these were during the first thirty seconds or so of "Animal" and during the first minute of "Immortality", but there were many others here and there throughout the entire show (which supposedly happened during the mixing, or were present on one of the sources prior to mixing). There is also a mild glitch @ 4:13 of "Release" which
was improved a little, but could not be fixed completely, and there is something unidentifiable @ 0:20 on "Black" which was could not be completely corrected. Approximately 100-150 pops have been manually removed. The end result is absolutely by no means perfect; there is an annoying whistler, the audience noise gets a little
overbearing sometimes, and there are still some occasional pops. It is possible that this show could be made better in the future by doing a new mix of the two sources and isolating the pops beforehand (instead of after mixing), but this source is probably the best until then, if that ever happens.

Special Note:
This is the second of two remastered versions that were done for this show. The sound on the first one was accidentally made too tinny, so this new one has more bass brought back. Also even more pops were edited (primarily on the second disc). The beginning of "Alive" sounds a little strange through headphones due to a filter that was added there on the left channel to filter out a high-pitched feedback problem that was present for most of the song (thanks to roberob23 for identifying that). Also, you may want to pay close attention to the flac fingerprints to make sure that you have the correct better version.

Artwork Notes (spacedvest):
The artwork is a 9/11 tribute, using the coincidence of the date and the band playing in New York. The only thing that has been modifed from before for this "rerelease" is a modified tray file (some of the times on the second disc where slightly changed from before).

Show Notes (thanks to Five Horizons):
Returning for the encore and yet another sea of "Breath" signs on ever single level of the Garden, Ed tells the crowd they are never satisfied: "You fucking cocksuckers. [shakes head] You fucking bitch! You know, we come up here as a collective band and we give and we give and you just fucking want more ... and you know what? You deserve it. This is like some kind of organized religion here; I've never seen anything like it. Do you see what's happening? ... the third night in a row, right?" [applause] "Well, fuck you. We're gonna play it..." leading to the first playing of 'Breath' since 1994!!! woo hoo!!! With a brief announcement ("same record, different track"), they follow with 'SoL&T.' 'Mankind' is introduced by Stone saying, "Well, since we're playing every song in the catalog..." 'Baba' is intro'd as being a response to "corporate rock bands who make the mistake of trying to cover a real rock song." 'Indifference' is played with an ecstatic Ben Harper (who has been including
'Indifference' at some of his shows). During 'Alive,' Ed makes four attempts to toss his microphone over the vocal monitor rig above his head, and finally gets it over, but instead of just standing there, he proceeds to CLIMB UP THE MIC CORD and hang there for the rest of the song. Possibly the best show the band has ever played in their life. Period. (And they knew it, too.)

This is being distributed by blackredyellow.com in tandem with j.sidewalkcrusaders.com, and is part of a series of the best Pearl Jam shows in existence (BTW, the spell checker is now on). If the artwork is not included, you
can find it at blackredyellow.com.

Compiled by spacedvest on 5/16/04, more notes by spacedvest on 7/13/04.