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Project Object - 2006 12 28 Baltimore MD 165.31 SBD/Aud Matrix MC (with Crescent Moon opener)
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Zappa Penguin
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Post 2007-01-01 03:20   [Quote] 
PROJECT OBJECT
w/ opener CRESCENT MOON

2006 12 28
The 8x10, Baltimore, MD

SBD/Aud matrix recording


"So", you ask yourself - "what could possibly be a better New Year's Eve gift than two remarkable-sounding Fall 1980 shows"?

Well, how about what may well be the finest-sounding Project/Object show you've never heard in your life? A crisp and delicious soundboard recording, topped off with just a pinch - just a pinch - of AUD mics, using a brand new, state of the art DIGITAL RECORDER to keep it all together? And - but wait - that's not all - instead of A NEW CAR, how about the PREVIOUSLY UNTORRENTED opening act, featuring no less than TEN (10!!) MINUTES of classic Seahag guitar?

Yes folks step right up folks step right up!

IN THE WORDS OF IKE WILLIS:
"Remember: This is the first show of our last 2006 tour, and we're starting it here in the good ol' whatever-the-fuck".

For those of you who already downloaded the P/O set from DaD, this is virtually identical - however, some "bug fixes" have been made. See below for details.

PLEASE NOTE:
Due to the relatively lengthy file and directory names, it may be best to download this to a ROOT folder - for instance, C:\, or D:\, or what have you - and move / rename / organize the files as you wish from there.

Otherwise, it's likely that errors will crop up. I apologize for this in advance!


For those of you who already got this from DimeADozen, here are the changes to make for maximum compatibility:

1) Rename "Project Object - 2006-12-28 - 8x10 - 20 - Echinda's Arf (of You).flac" to "Project Object - 2006-12-28 - 8x10 - 20 - Echidna's Arf (of You).flac".

2) Open aforementioned file in foobar2000 (or tagging program of choice) and change the "Track Title" field from "Enchida's Arf (of You)" to "Echidna's Arf (of You)"

3) Open "Project Object - 2006-12-28 - 8x10 - 21 - Don't You Ever Wash That Thing (incl. All Out of Love [Air Supply], Santa Claus is Comin' to Town).flac" in your tagging program of choice, and change the "Track Title" field to "Don't You Ever Wash That Thing? (incl. All Out of Love [Air Supply], Santa Claus is Comin' to Town; q: Sex Machine [James Brown], Drop Dead [Frank Zappa], I Write the Songs [Bruce Johnston])

You're now pretty much two text files away from 100%. If you want to make this last step even quicker:

4) Open "Project Object - 2006-12-28 info.txt". Delete all the text. Copy and paste the torrent description from the Dime seed into the now-blank file, and save.


This will leave you with only the "Project Object - 2006-12-28 ffp.txt" file differing from the "revised" torrent. You can then either leech the remaining 175MB or so, or opt not to grab the opening act, and only suffer a 512KB download.

Oy vey, enough instructions! On with the .txt files!

Crescent Moon & Project/Object
2006 12 28
Baltimore, MD
The 8x10

SOURCE:
House Matrix (SBD + matched audix scx-25 AUD mics) > patch bay > RCA red/white connectors to 1/8th inch > Roland Edirol R-09 [line in w/ 44.1 / 16 bit wav] > CDWAV (tracks split, saved as FLAC level 8) > foobar2000 (tags, ReplayGain) > FLAC frontend (fingerprints).
(Crescent Moon set: Add ". . . > Goldwave (diginoise in tracks 3 and 4 fixed [pop/click, tolerance between 500-1000 as required], volume maximized) > . . ." before the CDWAVing)

LOCATION:
Inside a little plastic/metal/wooden box.

SPECIAL NOTES:
CM: Levels start off incredibly high before slowly tapering off.
P/O: Levels fluctuate at the start of both sets, second set is a little louder than the first. Relatively subtle shit that you have to be really wanting to hear before you'll really notice it. A little bit of distortion in the vocals during "Sy Borg".

QUALITY:
CM: A/A-
P/O: A+/A

TAPER:
ZaPenguin (pjzyhfz02(AT)sneakemail.com or
http://db.etree.org/ZappaPenguin)

SEEDED:
P/O: To DimeADozen on December 29th, 2006
P/O: To Zappateers on December 31st, 2006
CM: To Zappateers on December 31st, 2006


THE BANDS:

CRESCENT MOON:
DAVE DREIWITZ (Lead bass, tiny trumpet, & vocals)
ERIC SLICK (Drums)
ROBBIE "SEAHAG" MANGANO (guest guitar on tracks 10 and 11)


PROJECT/OBJECT:
Dave Johnsen: bass, vocals, being tall and skinny
Eric Svalgård: keyboards, Moog synthesizer, theremin, samples, vocals, sports coat & Santa hat
Eric Slick: drums, vocals, teenaged enthusiasm
André Cholmondeley: guitar, vocals, samples, presidential impersonations
Robbie "Seahag" Mangano: guitar, vocals, impossible guitar, air supply
Jordan Shapiro: synth, Fender Rhodes, vocals, mandolin, man of few words
The Legendary Ike "Ike" Willis: vocals, guitar, conducting, banter, celebrity smile & sweat towel


SETLISTS:

CRESCENT MOON:
01 -
02 - A Long Way to Home
03 - The Game
04 -
05 - Yes Me
06 -
07 -
08 -
09 - dialogue
10 - Hammer to the Skull*
11 - *

* - with Robbie "Seahag" Mangano on guitar
(blank denotes unknown title)

PROJECT/OBJECT:
SET 1:
555
I Have Been In You >
Flakes >
Broken Hearts are for Assholes >
I'm So Cute >
Honey Don't You Want a Man Like Me? >
What's New in Baltimore >
Montana
brief mandolin jam (incl. George Dubya routine) >
Big Swifty
Easy Meat (1978 version)

SET 2:
Inca Roads >
Sy Borg >
Baby Snakes >
Wind Up Workin' in a Gas Station >
Village of the Sun >
Echidna's Arf (of You) >
Don't You Ever Wash That Thing? (incl. All Out of Love [Air Supply], Santa Claus is Comin' to Town; q: Sex Machine [James Brown], Drop Dead [Frank Zappa], I Write the Songs [Bruce Johnston])
Pick Me I'm Clean (early 1980 version)
Ross Perot routine >
Apostrophe (')
Zomby Woof

ENCORE:
Peaches En Regalia

NOT PLAYED BUT ON THE SETLIST AS A FINAL ENCORE:
Keep it Greasy >
Outside Now


BACKSTORY:
Imagine my surprise and delight when, during a frenzy of desperate perusal, I happened to notice this show on Pat's District (a little webpage devoted to listing most, if not every, show in the Maryland/Delaware/D.C./Nothern Virginia/parts of California (!?) area). Truly surprised and delighted was I, as I had acquired a brand-new spiffy recorder that I had been aching to try out.

Of course, hampering my teenaged efforts to attend this show was the daunting stretch of asphalt officially known as "Interstate 95", and unofficially known as "that fucking ungodly stretch of godforsaken road where poor hapless innocents come to forsake their god and die". I-95 is populated mostly by suicidal lemming drivers, who are oftentimes accused of making daily commutes from New York City to Washington D.C., and rightfully so. Do not, ever, for any reason whatsoever, take the word "lemming" to mean a relatively innocent victim of circumstances. These creatures are jaded as bitter fuck - as well they, or anyone who subjects themselves to such a commute on a regular basis, ought to be - and see no point in those silly numbers posted on white signs at constant intervals along the road. Research indicates that, when driving, they are for all intents and purposes blind, relying on a relatively sophisticated mixture of advanced ultra-sonic sonar and distant magnetic wavelength detection to avoid becoming road paste. Further research indicates that my own personage only manages sub-sonic sound, and apparently has no magnetic presence, thusly making me the helpless pawn of their cruel cruel whims.

Perhaps I'm a little biased against these creatures, as it was my first rush-hour highway journey in a little over a year, and as a result had lost touch with my own inner sense of bitter jaded suicidalness.

The 8x10 - or the Funkbox, as it used to be / still sometimes is called - is a relatively small sized venue near Baltimore's lovely inner harbor, and right down the block from the world's largest fucking pothole, which - naturally - I hit at a healthy pace on my way in. The unique aspect of the 8x10, and what truly sets it apart from most other small venues, is its outstanding, personable ownership, and the forward-thinking taping policy they've implemented.

After making the mistake of booking Tea Leaf Green and witnessing their tapers occupy nearly the entire front balcony, the 8x10 implemented a new policy: No audience microphones permitted. Yet, rather than leave it at that, they also implemented a second policy: Most, if not all shows, will feature free, easy access to a patch bay, containing a SBD/AUD house matrix. Though this would seem a more than simply generous compromise, the Tea Leaf Green tapers, henceforth referred to as "whining assholes", were not fooled by this olive branch of good will, as I discovered whilst Googling around for details on another venue's taping policy. I happened upon a most unnerving thread, whereupon the aforementioned whining assholes were attacking Brian, the owner of the 8x10, for this policy. Even having never been to the 8x10, I was already on Brian's side - if he was saying "no taping, period", or "we done has this pair o' micree-phoneys from the Radioed Shack, y'all can use them", it's one thing, but Jesus Christ here he is spending thousands of dollars on a setup, including a patch bay, instituting a cheap live CD duplication service for bands that are hard-core into taping (the cost of a burned CD-R is minimal, and it's ideal for smaller/local acts), and you dipshit fuckasses are still attacking him. Yet another reason why a good percentage of hardcore tapers can piss up a Schopes. After actually going to the venue and seeing the limited floorspace, I've upgraded that conclusion to "piss up a big chunky Radio Shack vocal microphone" because oh Jesus. Those god damned whining assholes.

Anyway, long story short, Brian's a really nice guy, the entire staff of the 8x10 is neither disinterested nor rude nor sketchy and impersonable nor even pretentious assholes (breaking the grand and noble traditions of area venue staff, the Rock N' Roll Hotel temporarily exempted from judgement), and the drinks are remarkably reasonably priced ($3 for a tap beer? I've obviously spent too much time getting raped by venue bars because I consider that an outstanding deal!). I'll hopefully be attending several more shows in the future, time and suicidal sixth sense permitting.

So eventually, I somehow managed to arrive at the club - without even remembering to bring my directions - and parked a few blocks down - a bit of a mistake, considering that on my way back to my car after the show I encountered a relatively charming, personable fellow who I'll call "Gary" (as I believe that was his name) - a member of Baltimore's predominant night-time species, the crack-head, who adopted me for at least twenty minutes. Rather than subject anyone to my lengthy spiel(s) about how everybody deserves a chance at life and everybody just wants to be loved and how crack is probably the worst thing besides beaucracy to hit humanity and about how had it been daylight or a relatively populated area of town I probably would have been quite more comfortable and generous with my attention, I'll just say that the streets were deserted, the guy was showing me his martial arts thumb-breaking tactics, and I couldn't help but remember all those idiot stories about how crackheads were likely to go off suddenly and kill a man by strangling him in the gaps between their teeth. After a brief brain-teaser, interrupted by several philosophical theses ("crack... is psychological"), I eventually scurried - with my tail between my legs - to my car, apologizing but mentioning that it was a late hour and I needed to return home. Believe me when I say that I still feel slightly guilty over this; and believe me when I say that I am probably Not Normal for it.

Non-linear tagents momentarily aside, I arrived at the 8x10 and claimed my ticket.

STORY:
CRESCENT MOON - As far as the show goes, a solid success. The band's a keenly energetic little ensemble, and manage to toe the line between pop accessibility and odd, Can-like trance grooves. The highlight of the show, without a doubt, is the miniature guitar solo leading off track 10 (I believe it's performed by Seahag, but my visual memory of the night is rather dim). The punky numbers wear a bit thin (The Game, in particular), but the two Seahag numbers are great, and Track 06 is pleasingly mellow, even to these typically hyperactive-leaning ears.

I just wish I had set my recording levels a bit higher to begin with. Crank this on big room speakers, but if you're listening through headphones, knock the volume down a bit - it sounds a bit lo-fi punky otherwise.


PROJECT/OBJECT - As far as the show goes, a resounding success. Project/Object has always been my personal favorite of the Zappa tribute bands - not lifeless like the Grandmothers, nor obtuse like the Palmero Big Band, and unlike Dweezil's ZpZ band, these guys are honest, in touch with the fans, and not just some privledged SoCal schmuck riding Daddy's teat to the $50-a-ticket bank.

Surprisingly - or possibly not so surprisingly, considering that several popular jam-bands have toured / guested with P/O - there was a healthy amount of young people, with no less than five (5) audience members still in their high school days. It's heartening to overhear kids who weren't even born when Zappa played his last tour state that "all [they] ever listen to these days is Zappa", and to see some teeny-bopper singing every single word to classics like "Wind Up Workin' in a Gas Station" (a feat which even this long-time Zappa listener cannot predictably pull off at any given moment). So heartening, in fact, that I'll end this paragraph here - no doubt we've already had our fill of winter-time glurge.

To be honest, this was surprisingly polished for the first show of the tour, and I'll no doubt incite some hard core member of the Zappa community (possibly even myself at a later date) by mentioning that at times, this band could be compared to - even mistaken for - an actual Zappa lineup.

Highlights, to these ears, include the heavy metal version of Easy Meat, every single note, chord, sample, and gesture that Eric Svalgård played or made, the guitar solo within Inca Roads (perhaps not quite up there with the legendary solos from 1979, but truly comparable to the 1974 and 1988 outings), and the twin absolute show-stoppers of the night: The solidly stupifying "Don't You Ever Wash That Thing" (in this taper's humble opinion, Project/Object's signature song) and the just-flat-out-sick-as-fuck Apostrophe ('), which, at points, had audience members - and Ike and Andre - literally slack-jawed with amazement. Yes, that first solo is a bass, even if it's being treated like a guitar.

The low points, to these ears, are few and mostly niggling. Secret Word use is minimal and random, with no broad, overarching theme to tie it all together. The bass solo in Apostrophe (') should have included a moment without drums for maximum effect. The monster songs are both relatively short, though each packs the maximum punch into the relatively small time slots. I guess my single criticism that can possibly hold water would concern the early version of Pick Me I'm Clean -good keyboard texture, but the "fast" bareback/wetback/way back/get back section sucks, and that guitar, while nice, is hardly the sick whirlwind that this Fall 1980 fan is biased towards -- not to mention that Ike's introduction is wholly incorrect, as the events detailed within the song did not occur until the second leg of Ike's first tour, and the song itself doesn't premire until the Feburary 1980 rehearsals, Ike's -second- tour with Zappa. It's mistakes like these that turn us Zappaholics into frothing flaming idiots - I think I'll go cuss out some club manager for giving me a patch bay or something.

All this aside, a superb show - and having Seahag back is simply tremenjious! Here's hoping for more P/O in 2007 - maybe even a multiple-night Baltimore/D.C. run (one can dream).



Support the band, see Project/Object live!
http://www.projectobject.com/body_tour.shtml

Support the band, visit their webpage:
http://www.projectobject.com/

Support the venue - check out their calender:
http://www.the8x10.com/index_content.html (warning: Flash)

party2 HAPPY NEW YEAR! party2


Last edited by Zappa Penguin on 2007-01-02 20:14; edited 6 times in total
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mike comisky
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Post 2007-01-01 04:30   [Quote] 
Thanks Zappa Penguin, for sharing. I'm with you - after seeing FZ and P/O several times, these guys are the closest thing to being there. Sorry, Dweezil.

yours in FZ,
mike
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unicrayon
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Post 2007-01-01 05:22   [Quote] 
Yep almost 100% compatibility after instructions .... but as the extra Crescent Moon set wasn't in the Dime seed about 77% ....

Thanks Smile
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cg
Joined: 2006-01-06
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Post 2007-01-01 05:52   [Quote] 
Thanks for this.
I don't usually go for tribute acts on account
of the eyebrow shortage, but your essay,
and the promise of Ike, persuaded me.
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Zappa Penguin
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Post 2007-01-01 08:40   [Quote] 
unicrayon wrote:
Yep almost 100% compatibility after instructions .... but as the extra Crescent Moon set wasn't in the Dime seed about 77% ....

Thanks Smile


D'oh. I had written that "512K hit" bit in the text file before deciding to throw in the opening act as well. Embarassed
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Almanzart
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Post 2007-01-01 13:20   [Quote] 
Thanks a lot ! mexicanwave and Happy 2007
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Drew51
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Post 2007-01-01 19:03   [Quote] 
Quote:
Thanks Zappa Penguin, for sharing. I'm with you - after seeing FZ and P/O several times, these guys are the closest thing to being there. Sorry, Dweezil.


I have only seen P/O a couple times, like the stuff, but I'll take Nappy any day over Ike.
Guess it depends what era your from. Well not really, I'll take Steve Vai over anybody. I mean can you even compare? No. I'm more interested in the Alum than seeing a cover, I mean I saw the man, don't need the cardboard standup. I like to see Alum, Though I feel Ike is not what he used to be. Maybe the fact I see so much of him, and Vai, Bozzio, so new and cool to be back doing Zappa. Nappy is older yet still has a great range and his stage presence is unrivaled.
Recently showing some musician friends film of ZPZ, they were quite impressed with him, not Zappa fans, but people who know good music, and well made some converts that night.
Nobody can improv like FZ, and that is what I like most, and you know that is what is missing from all of this, always has been. Steve Vai is a better guitar player than Frank was, I mean in raw ability, and technique, Steve is better, the crown goes to him. He may be able to improv but chooses not to. As do most, and what I miss is the chance Frank took, it always didn't work, but future songs can be heard, and places angelic at times. So does this make Frank better? No, just different. Mike Keneally is another great player as is Adrian Belew. Both I feel the same way... Better? no, different? Yes, have a lot to offer. Vai's classical arrangements with Orchestra were excellent, Vai has some great melodies he has written and should be proud, I know Frank would be. Adrian is also a great song writer. Writing songs with the best, and he own ability is amazing.
Writing with David Bowie, Robert Fripp, quite the resume. Frank like Sun Ra, and Miles Davis had these bands, and the people in them were special. Like getting a degree, I guess you could throw Fripp in there too, as he also has a knack for finding talent. These guys all found talent and showed them the ropes, molding generations of minds. This is a music tradition from the beginning of time.
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rushomancy
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Post 2007-01-02 02:48   [Quote] 
Wow, you actually credited "I Write the Songs" to the guy who wrote it. (Even if his name is actually Bruce Johnston, with a t.) Extra points for that.
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unicrayon
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Post 2007-01-02 03:30   [Quote] 
rushomancy wrote:
Wow, you actually credited "I Write the Songs" to the guy who wrote it. (Even if his name is actually Bruce Johnston, with a t.) Extra points for that.


Barry does too ....
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Zappa Penguin
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Post 2007-01-02 03:53   [Quote] 
rushomancy wrote:
Wow, you actually credited "I Write the Songs" to the guy who wrote it. (Even if his name is actually Bruce Johnston, with a t.) Extra points for that.


D'oh! However, at least I got the file tag right:

Don't You Ever Wash That Thing? (incl. All Out of Love [Air Supply], Santa Claus is Comin' to Town; q: Sex Machine [James Brown], Drop Dead [Frank Zappa], I Write the Songs [Bruce Johnston])

Very Happy

So I guess there'll have to be a THIRD revision of the info.txt... some day far off in der futchum.

(I'm also pretty sure there's at least one more sampled James Brown song that I didn't catch "now, Bobby, whats'n'ever I play, it's gonna be funky", and the "funk jam" may or may not be a song in and of itself - if anyone knows for sure, go for the correction!)
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fadel
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Post 2007-01-02 05:53   [Quote] 
rasta __________________________________________________________ Z_wonders Penguin __________________ stoned

.
                                                  TGuitar Solo Baz H          AGuitar Solo Al N          K blues S          !

-                                                                                                                                  tunes tunes
----                                                                                                                                  wings
music014 __________________________________________________ZAPPA :Zmoustache: EERS____________________.
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Ingmar
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Post 2007-01-04 19:33   [Quote] 
The first song Crescent Moon played is 'Queen Bitch', by David Bowie (from the Hunky Dory album).

Thanks for this, even without proper credits to David Bowie Razz

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Was his name . . .
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unicrayon
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Post 2007-01-04 21:09   [Quote] 
muha!
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recca421
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Post 2007-01-06 12:13   [Quote] 
Arf!

Thanks!

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bburnett
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Post 2007-01-06 19:53   [Quote] 
Thank You Kind Sir! rockon
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