2005-10-28 | Umphrey's McGee | Relisten

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Shows

10/28/05

um2005-10-28d1t01.mp3

um2005-10-28d1t02.mp3

um2005-10-28d1t03.mp3

um2005-10-28d1t04.mp3

um2005-10-28d1t05.mp3

um2005-10-28d1t06.mp3

um2005-10-28d1t07.mp3

um2005-10-28d1t08.mp3

um2005-10-28d1t09.mp3

um2005-10-28d2t01.mp3

um2005-10-28d2t02.mp3

um2005-10-28d2t03.mp3

um2005-10-28d2t04.mp3

um2005-10-28d2t05.mp3

um2005-10-28d2t06.mp3

um2005-10-28d2t07.mp3

um2005-10-28d2t08.mp3

um2005-10-28d2t09.mp3

um2005-10-28d3t01.mp3

um2005-10-28d3t02.mp3

um2005-10-28d3t03.mp3

FIN

View on archive.org

Sources

SOURCE 1 OF 2

9.75 / 16 ratings

um2005-10-28.flac16

Schoeps MK41(DINA)->KC5->CMC6->V3->->VX pocket V2->fujitsu 7010->Wave Lab 5.0 (24/48)

Wavelab 5(resample,dither)->cd wave->flac

View Noteslate-night show
* with March of the S.O.D. teases
** first time played, The Beatles
$ first time played, King Crimson
$$ first time played, Motley Crue
^ with Al Schnier on guitar
^^ first time played in full, Led Zeppelin; with Warren Haynes on guitar
% first time played, Metallica
%% first time played, Bush and Stroud (as performed by Willy Nelson) 

SOURCE 2 OF 2

Scott Bernstein

Scott Bernstein

Original master DAT recording: Neumann TLM-170(FOB)->Apogee AD1000->Teac DA-P20(16 bit/48khz) DAT playback: Sony R300 -> Sound Devices 722 digital input (@24/48) Mastered: Steinberg Spectralayers 11 to scrub hundreds of loud whistles, yells, and even some stray conversation. Soundforge Pro 13.0 for clap scrubbing, 24->16 bit dither using POW-r #3 noise shaping. Tracked in CDWav. IDv3 tagged in Tag&Rename 3.9.15.

View NotesTotal time: 3:03:03

% = sounds like a jam based loosely around Like A Rolling Stone (Bob Dylan)
* = with March of the S.O.D. (Stormtroopers of Death) jam
+ = first time played (The Beatles)
^ = first time played (King Crimson)
@ = first time played (Mötley Crüe) - one verse only
% = w/"Pay the Snucka" tease
& = w/Al Schnier on guitar
~ = first time played (Led Zeppelin), w/Warren Haynes on guitar
= = first time played (Metallica); one verse
$ = first time played (Asleep at the Wheel) - played in an acoustic format including a small drum kit for Kris set up at the front edge of the stage

Notes:
late-night show as part of the Vegoose music festival
Highway to Hell (AC/DC) tease before Dig A Pony
YYZ (Rush) tease after Immigrant Song

Patches for a 5.705 second missing segment at 12:25.008 in set 2, track 2 (there was a "skip" in the recording) and a 1:21 blank patch at 1:52 in set 2, track 10 (due to an Apogee battery death) have been extracted from Jon Merin's existing recording on archive.org available here https://archive.org/details/um2005-10-28.flac16 (Source:Schoeps MK41(DINA)->KC5->CMC6->V3->->VX pocket V2->fujitsu 7010->Wave Lab 5.0 (24/48); Transfer:Wavelab 5(resample,dither)->cd wave->flac; Taped and Transferred by: Jon Merin)

I hand scrubbed hundreds of loud claps in SoundForge Pro 13 and hundreds of yells/whistles/woos and even some conversations  from the boisterous and drunk audience right near my mics using Spectralayers 11

Recorded by Scott Bernstein
Transferred 5/19/12, Tracked 8/28/2019, Mastered 8/19-27/2024.  Posted 8/27/2024

Taper notes:
For BARN256, I took on another recording which I had been intending to get out for a while.  A LONG while -- 12 years or so.  Returning to my early days recording Umphreys McGee (I've put out 2 of my earlier UM recordings -- a SMOKING Bonnaroo late night tent set from 2004 with a stellar moe. setbreak takeover as BARN169, and then their post-Jammy awards show from BB Kings in April of 2006 which featured special guests that included HUEY LEWIS, members of Disco Biscuits, Joe Russo, and Nelly McKay as BARN197), I recorded this VERY late night set from The House of Blues in Las Vegas, NV as part of the Vegoose music festival over Halloween weekend 2005.  I had been tipped off that there would be special guests -- and was not let down by major sit-ins from Al Schnier from moe. and Warren Haynes (Allman Brothers/Govt Mule).

This show was chock full of great song choices -- first time covers for the Halloween party, LONG jams -- and a show that went on and on until the early hours of the morning (but not to worry, as Brendan reminded us -- the clocks were falling back that night and we'd all be entitled to an extra hour of sleep).  The setlist is peppered with lots of early UM classics that still hold up today (Wife Soup, Miss Tinkle's Overture, All In Time, Der Bluten Cat, Partyin' Peeps, Pay The Snucka), killer cover choices:  King Crimson's "Red", not 1 but 2 Beatles' covers: "Helter Skelter" and "Dig A Pony", Led Zeppelin's "Immigrant Song", tastes of Motley Crue, Metallica, and Stormtroopers of Death, and an Asleep At The Wheel country cover).  One word about their performance of "Let Me Go Home, Whiskey":  When they got to the encore, it was LATE.  Really late.  So much so that it was actually REALLY early the next morning.  I was exhausted and wanting to get back to my hotel bed...and instead of the band just coming out and playing an encore, they chose to take the time to set up a mini acoustic set at the foot of the stage -- clearly this was not planned.  And it took a while.  At the time it felt very self-indulgent for the band to take that time to mess with their stage setup while we were waiting to wrap it up and get home.  Of course, looking back at the timings on this recording, it seems as if it only took about 4 minutes for the band to execute this switchover...but at the time it seemed like an eternity.  Perspective is everything -- and listening back, the performance seems to have been worth the wait.  Then they proceeded top it off with 15 additional minutes of "Pay the Snucka" during which they admit "we could keep doing this all night".  Also note that these early takes on some of their class songs differ somewhat from their more modern interpretations (and are often slower in tempo).

Fellow old school moe. taper Jon Merin posted his recording contemporaneously to when the show happened (back on 11/2/2005).  We were, if I recall, set up together in a great spot on the floor -- so our recordings should sound similar (and I actually used 2 snippets from his recording to fill some minor flaws in mine) -- BUT in the intervening 19 years, technology has improved, as have my skills in cleaning up flaws in recordings -- and I spent a week or so cleaning up several hundred loud claps, yells, hoots, hollers, and even some entire conversations that occurred near our microphones -- so this should be a major listening improvement for you all -- even if it is 19 years later!

Enjoy!

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