Set 1



Bertha ->

Good Lovin'

Brown Eyed Women

Cassidy

It Must Have Been The Roses

Sunrise

New Minglewood Blues

Dupree's Diamond Blues

Let It Grow



Set 2



Samson And Delilah ->

Cold Rain And Snow

Playing In The Band ->

Eyes Of The World ->

Estimated Prophet ->

The Other One ->

Drums ->

Iko Iko ->

Stella Blue ->

Playing In The Band



Encore

Johnny B. Goode

Related Music (Beta) question-dark Versions - Different performances of the song by the same artist Compilations - Other albums which feature this performance of the song Covers - Performances of a song with the same name by different artists Song Title Versions Compilations Covers Bertha -> Good Lovin' Brown-Eyed Women Cassidy It Must Have Been the Roses Sunrise New Minglewood Blues Dupree's Diamond Blues Let It Grow "Meet The Jones Gang" Samson & Delilah -> Cold Rain & Snow Playing in the Band -> Eyes of the World -> Estimated Prophet -> The Other One -> Drums -> Iko Iko -> Stella Blue -> Playing in the Band Johnny B. Goode

Notes

Sick Bits Vol. 5







Source:



Matrix: (SBD/AUD mix)







SBD: MR > DAT > CD-R (shn ID #2595)







AUD: MAC: Sony ECM 33Ps > Sony TC-158 > CDR (shn ID #15208)



Taped by Jerry Moore







[complete text files for each source appended at end]







Transfer/Editing:



Both sources were shn files downloaded from LMA and converted to



WAV > Vegas 5 (matrix) > WAV > CD Wave > FLAC Frontend > FLAC 16 (level 8)







Matrixed by Chris Chappell



ScarFire@liquidcity.com



4/23/05







General Notes:







Given the two sources available on the Llama, I decided to put the effort



into editing a matrix of this weird and powerful night at Colgate U.



during their homecoming weekend. The Jerry Moore FOB AUD is an excellent



recording, and the SBD is balanced with everyone in the mix and Keith



featured prominently throughout. The two sources work well together even



though the venue was basically an ice rink with steel walls.







Music Notes:







This show, albeit sloppy at points, epitomizes the ability of the band to



take chances musically, knowing they can falter at any moment but also



collectively discover something around the bend never before seen or heard.



This is also reflected in the setlist which has some noteworthy aspects.



The Let It Grow to end the first set is both out there and raging,



purporting what is to come next. Technical difficulties allow time for



Phil to introduce the band as the "Jones Gang" at the start of the second



set. This level of hilarity is indicative of the playing to follow: loose,



strange, daring, and plain old rockin'. Cold Rain & Snow hadn't been



played in over a year and is one of two played in '77. The Playin' in the



Band is very exploratory building to a crescendo that segues into the gem



of the show: Eyes of the World - simply the most rockin' I have heard.



Then, to top it off, they transition into Estimated, with Jerry sort of



happening upon the song unexpectedly. This is the first Eyes > Estimated,



with another on 11-5-79 and then not again until the famous night at Nassau



with Branford Marsalis on 3-29-90. A powerful one-verse only Other One



follows, and then the 4th Iko-Iko ever comes out of Drums. The Stella Blue



is very intimate with Jerry crooning at the end similar to certain nights



in the 90's. A very long and jammed out Playin' reprise ends the set at



a fervent level, and the Johnny B. Goode to follow doesn't let up.







Editing Notes:







- Pitch



Both sources were pitched differently, the AUD being the sharpest,



and the SBD being the flatest. I used the SBD as my master timeline



and pitch referenced the AUD to it. The AUD on average had to be pitched



down about .33 (33 cents) to achieve pitch correction - 1.00 being



100 cents which is a semitone. I did not reference A=440 as I did not



desire to pitch adjust the SBD. It is very close though to A=440.







- Synch



Because of the speed fluctuation within a given source, multiple edits



were performed to keep the sources synched. Because the SBD was my



master pitch and time ref, the AUD was synched to the SBD (too many



edits to list).







- Sonic Quality/Matrix ratio



The only dynamic processing I employed was a little bit of limiting



(Waves L2) to the SBD source. All I was trying to do here is to add some



dimension to the SBD by using the ambience of the AUD. The result is a



lively but clear recording, hopefully close to how it sounded at the show.



If I had to guess the SBD/AUD ratio would be somewhere between 3:1 and 4:1.







- Edits



The following are places where the SBD and AUD had splices, holes or



incomplete coverage in reference to the final matrix timeline. Crossfades



were used throughout for smooth transitions to a single source.







SBD:



d1t01 (0:00 - 0:03) - missing (crowd)



d1t02 (6:10 - 6:30) - missing (crowd)



d1t04 (4:49 - 4:53) - missing (crowd)



d1t05 (7:23 - 7:25) - missing (crowd)



d1t06 (4:10 - 4:23) - missing (crowd)



d1t07 (5:19 - 5:30) - missing (crowd)



d1t08 (6:09 - 6:13) - missing (crowd)



d2t01 (0:30 - 1:08) - missing



d2t03 (6:10 - 8:18) - missing (crowd)



d3t01 (