Zwan2002-04-14: Difference between revisions
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{| border="2" cellpadding="4" cellspacing="0" style="margin: 0 0 1em 1em; border: 1px #aaa solid; border-collapse: collapse; font-size: 95%;" align="right" width=280px | {| border="2" cellpadding="4" cellspacing="0" style="margin: 0 0 1em 1em; border: 1px #aaa solid; border-collapse: collapse; font-size: 95%;" align="right" width=280px | ||
! bgcolor="#ffe156" colspan="2" | | ! bgcolor="#ffe156" colspan="2" | Zwan | ||
|- | |- | ||
! align="left" | Date | ! align="left" | Date | ||
Line 12: | Line 12: | ||
|- | |- | ||
! align="left" | Venue Type | ! align="left" | Venue Type | ||
| Club | |||
|- | |||
! align="left" | Capacity | |||
| 473 | |||
|- | |||
! align="left" | Lineup | |||
| Corgan, Chamberlin, Sweeney, Pajo, Lenchantin | |||
|- | |||
! align="left" | Order of Bands | |||
| The Impossible Recording Machine, Zwan | |||
|- | |||
! bgcolor="#ffe156" colspan="2" | Surfaced Recordings | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #1 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| DAT | |||
|- | |||
! align="left" | Equipment | |||
| DAB > DA Battery Box with bass rolloff > M1(44.1k, line in) | |||
|- | |||
! align="left" | Length | |||
| 108m | |||
|- | |||
! align="left" | Complete? | |||
| Yes | |||
|- | |||
! align="left" | Lowest Circulating Generation | |||
| DAT-M > dEdit > FLAC | |||
|- | |||
! align="left" | Live Music Archive | |||
| [http://www.archive.org/details/zwan2002-04-14_rerelease.flac16 16-bit download] | |||
|- | |||
! align="left" | Notes | |||
| 30 feet from stage, mic stand. | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #2 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| DAT | |||
|- | |||
! align="left" | Equipment | |||
| DPA 4060 > Custom Battery Box > M1 | |||
|- | |||
! align="left" | Length | |||
| 108m | |||
|- | |||
! align="left" | Complete? | |||
| Yes | |||
|- | |||
! align="left" | Lowest Circulating Generation | |||
| DAT-M > FLAC | |||
|- | |||
! align="left" | Live Music Archive | |||
| [http://www.archive.org/details/zwan2002-04-14.4060.flac16 16-bit download] | |||
|- | |||
! align="left" | Notes | |||
| 30 feet from stage, mics 14 feet up. Mix of this source, AUD #3, and AUD #4 circulates. SPFC seems to label this as DPA-4060>BBox>D100. | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #3 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| DAT | |||
|- | |||
! align="left" | Equipment | |||
| DPA 4061 > M1 | |||
|- | |||
! align="left" | Length | |||
| 108m | |||
|- | |||
! align="left" | Complete? | |||
| Yes | |||
|- | |||
! align="left" | Lowest Circulating Generation | |||
| DAT-M > SHN | |||
|- | |||
! align="left" | Notes | |||
| Left side, pillar, 2 ft from stack. Mix of this source, AUD #2, and AUD #4 circulates. | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #4 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| DAT | |||
|- | |||
! align="left" | Equipment | |||
| DA Mics > DA Battery Box with bass rolloff > M1 | |||
|- | |||
! align="left" | Length | |||
| 108m | |||
|- | |||
! align="left" | Complete? | |||
| Yes | |||
|- | |||
! align="left" | Lowest Circulating Generation | |||
| DAT-M > SHN | |||
|- | |||
! align="left" | Notes | |||
| 30 feet from stage, 14 feet up. Mix of this source, AUD #2, and AUD #3 circulates. | |||
|- | |||
! bgcolor="#ffe156" colspan="2" | Unsurfaced Recordings | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #5 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| DAT | |||
|- | |||
! align="left" | Equipment | |||
| CSHEB > Battery Box > M1 | |||
|- | |||
! align="left" | Length | |||
| ~115m | |||
|- | |||
! align="left" | Complete? | |||
| Unknown | | Unknown | ||
|- | |- | ||
! bgcolor="# | ! align="left" | Notes | ||
| Two feet from left stack, on a pillar. | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #6 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| DAT | |||
|- | |||
! align="left" | Equipment | |||
| SS-DSM-6S > PA-6LC3B > M1 | |||
|- | |||
! align="left" | Length | |||
| ~115m | |||
|- | |||
! align="left" | Complete? | |||
| Unknown | |||
|- | |||
! align="left" | Notes | |||
| Mic stand, in front of the soundboard, mildly distorted. | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #7 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| DAT | |||
|- | |||
! align="left" | Equipment | |||
| SS-DSM-6S > PA-6LC2 > M1 | |||
|- | |||
! align="left" | Length | |||
| 109m | |||
|- | |||
! align="left" | Complete? | |||
| Yes | |||
|- | |||
! align="left" | Notes | |||
| Mic stand, 30 feet in front of the soundboard, next to a stuffed bear, mildly distorted. | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #8 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| DAT | |||
|- | |||
! align="left" | Equipment | |||
| CSBMod > M1 | |||
|- | |||
! align="left" | Length | |||
| ~115m | |||
|- | |||
! align="left" | Complete? | |||
| Unknown | |||
|- | |||
! align="left" | Notes | |||
| 10 feet from stage. | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #9 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| DAT | |||
|- | |||
! align="left" | Equipment | |||
| AT-853 > Sound Professionals Battery Box > M1 | |||
|- | |||
! align="left" | Length | |||
| ~115m | |||
|- | |||
! align="left" | Complete? | |||
| Unknown | |||
|- | |||
! align="left" | Notes | |||
| Mic stand, in front of the soundboard, mildly distorted. | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | AUD #10 | |||
|- | |||
! align="left" | Source | |||
| AUD | |||
|- | |||
! align="left" | Format | |||
| MD | |||
|- | |||
! align="left" | Equipment | |||
| CSB Clones > Battery Box > MS722 | |||
|- | |||
! align="left" | Length | |||
| ~115m | |||
|- | |||
! align="left" | Complete? | |||
| Unknown | |||
|- | |||
! align="left" | Notes | |||
| Taped from side. | |||
|- | |||
! bgcolor="#fff9de" colspan="2" align="left" | PRO #1 | |||
|- | |||
! align="left" | Source | |||
| PRO | |||
|- | |||
! align="left" | Format | |||
| VID | |||
|- | |||
! align="left" | Equipment | |||
| Unknown | |||
|- | |||
! align="left" | Length | |||
| Unknown | |||
|- | |- | ||
! | ! align="left" | Complete? | ||
| No | |||
|- | |- | ||
! align="left" | Notes | ! align="left" | Notes | ||
| | | Filmed for the band using single swing camera | ||
|- | |- | ||
|} | |} | ||
Line 29: | Line 273: | ||
* Ride a Black Swan | * Ride a Black Swan | ||
* Cast a Stone | * Cast a Stone | ||
* All Day and All of the Night [Kinks] | * All Day and All of the Night [The Kinks] | ||
* Love Lies in Ruin | * Love Lies in Ruin | ||
* Jesus, I [Lyte] | * Jesus, I [Lyte] | ||
** Mary Star of the Sea (tease) | |||
** Who Do You Love [Diddley] (tease) | |||
** God's Gonna Set This World on Fire | ** God's Gonna Set This World on Fire | ||
* Yeah | * Yeah | ||
* Lyric | * Lyric | ||
* Talking in Your Sleep [Romantics] (tease) | * Talking in Your Sleep [The Romantics] (tease) | ||
* Endless Summer | * Endless Summer | ||
* For Your Love | * For Your Love | ||
* Rivers We Can't Cross | * Rivers We Can't Cross | ||
Settle Down | * Settle Down | ||
Encore: | Encore: | ||
* Baby, Let's Rock | * Baby, Let's Rock | ||
Line 48: | Line 292: | ||
== Banter == | == Banter == | ||
<blockquote> | <blockquote> | ||
( | BC: Lights.<br> | ||
'''A New Poetry'''<br> | |||
'''To Wonder, To Suffer'''<br> | |||
Sweeney: ''(grunt) (a few gorilla noises)''<br> | |||
'''Ride a Black Swan'''<br> | |||
> '''Cast a Stone'''<br> | |||
'''All Day and All of the Night'''<br> | |||
BC: ''(off mic)'' What’s the next song? I can’t see. ''(on mic)'' Thank you very much, thank you. Thank you. Hey, what a beautiful day today, huh? On a warm day, this is still the greatest city in the world so....<br> | |||
Sweeney: Goin’ hard for the easy - the easy applause line.<br> | |||
BC: Yeah but none of these people are from Chicago.<br> | |||
Sweeney: Oh okay.<br> | |||
BC: Who here is not from Chicago? Who here is willing to admit they’re from Chicago? Heh heh. That would be the category for the rest of them. This is a song called Love Lies in Ruin.<br> | |||
'''Love Lies in Ruin'''<br> | |||
Sweeney: Let’s see the slippers. Still can’t see.<br> | |||
'''Jesus, I'''<br> | |||
> '''Mary Star of the Sea''' (tease)<br> | |||
> '''Who Do You Love''' (tease)<br> | |||
> '''God’s Gonna Set This World on Fire'''<br> | |||
BC: That’s right.<br> | |||
'''Yeah!'''<br> | |||
(BC after Sweeney starts song: That’s a little slow there, Matty. I’m so scared of you starting this song.)<br> | |||
> '''Lyric'''<br> | |||
BC: Thank you so very much, thank you. Hey uh, Fred, that linding - that blinding light is...not good. And then I - then when you load lights out the back everyone up front is all squinting and...and look like they’re in pain. It might be the song, actually. [unintelligible] Boy, it’s hot, huh? ''(Jimmy starts something resembling a heartbeat)'' Let’s all take a deep breath and just relax. Now the rock is is - it’s old. Just kidding, I’m crawling back to it slowly. ''(Jimmy stops)'' Is that my heartbeat?<br> | |||
'''Talking In Your Sleep''' (tease)<br> | |||
(BC sings two lines of chorus: I hear the secrets that you keep / when Pajo’s talking in his sleep.)<br> | |||
BC: You know you mentioned you talk in your sleep. You talk in your sleep, did you know that? One night, you kept calling me Ass Colony. It was kind of embarrassing but then I kind of got into it. Sorry Matt, Matt doesn’t like when I joke. This is a song called Endless Summer.<br> | |||
'''Endless Summer'''<br> | |||
> '''For Your Love'''<br> | |||
BC: Heh, I’m so tired, just can’t summon up the energy. I think if these good people could just cheer. ''(crowd cheers)'' Not that good, we need sort of less than that. A stomping like that ''(demonstrates)''. More stomping. Never mind.<br> | |||
'''Rivers We Can’t Cross'''<br> | |||
(BC talking while Pajo and Sweeney jam: Jimmy’s taking a leak? Heh, we don’t know how long that’s gonna take. Let’s get to know each other, shall we? On the guitar, Mr. David Pajo. On the bass, the enchanted Peace. On the guitar, Matt Sweeney. ''(song proper starts)'')<br> | |||
(BC during bridge: I hear a si - hahaha. Gotta start over. ''(singing)'' I hear a silence. ''(normal)'' No, it’s still shit, right? I’m just laughing to myself. I can laugh to myself, [3 unintelligible words]. I have so many sad years, now you don’t want me to be happy. Sorry, I love you, Matt. Okay, go back to the bottom. ''(band restarts bridge)'')<br> | |||
'''Settle Down'''<br> | |||
BC: We are Zwan, god bless you, thank you.<br> | |||
[encore break]<br> | |||
BC: Thank you very much, thank you. Thank you. Well, summer is here and the time is right.... I can’t thank you enough, thank you very much. No, thank you. And uh, thank you for being so patient and hot and all that. No, I don’t really care what I’m saying, I’m just like a fucking robot up here. No, I’m just kidding. Like to play a song called Un.... The enchanted Peace says this song is called Baby, Milk Me. Okay, sorry, we’ll just get on with it.<br> | |||
'''Baby, Let’s Rock!'''<br> | |||
> '''Spilled Milk'''<br> | |||
BC: Zwan! Thanks for letting us jam, thank you very much. Like you people. Jimmy Chamberlin, man. [unintelligible word], Jimmy. Thank you all.<br> | |||
</blockquote> | </blockquote> | ||
== Photos and Memorabilia == | |||
[[Image:0204XX-Shirt.jpg|125px|left]] |
Latest revision as of 06:31, 24 August 2022
Zwan | |
---|---|
Date | 2002-04-14 |
Venue | Double Door |
Location | Chicago, IL, US |
Venue Type | Club |
Capacity | 473 |
Lineup | Corgan, Chamberlin, Sweeney, Pajo, Lenchantin |
Order of Bands | The Impossible Recording Machine, Zwan |
Surfaced Recordings | |
AUD #1 | |
Source | AUD |
Format | DAT |
Equipment | DAB > DA Battery Box with bass rolloff > M1(44.1k, line in) |
Length | 108m |
Complete? | Yes |
Lowest Circulating Generation | DAT-M > dEdit > FLAC |
Live Music Archive | 16-bit download |
Notes | 30 feet from stage, mic stand. |
AUD #2 | |
Source | AUD |
Format | DAT |
Equipment | DPA 4060 > Custom Battery Box > M1 |
Length | 108m |
Complete? | Yes |
Lowest Circulating Generation | DAT-M > FLAC |
Live Music Archive | 16-bit download |
Notes | 30 feet from stage, mics 14 feet up. Mix of this source, AUD #3, and AUD #4 circulates. SPFC seems to label this as DPA-4060>BBox>D100. |
AUD #3 | |
Source | AUD |
Format | DAT |
Equipment | DPA 4061 > M1 |
Length | 108m |
Complete? | Yes |
Lowest Circulating Generation | DAT-M > SHN |
Notes | Left side, pillar, 2 ft from stack. Mix of this source, AUD #2, and AUD #4 circulates. |
AUD #4 | |
Source | AUD |
Format | DAT |
Equipment | DA Mics > DA Battery Box with bass rolloff > M1 |
Length | 108m |
Complete? | Yes |
Lowest Circulating Generation | DAT-M > SHN |
Notes | 30 feet from stage, 14 feet up. Mix of this source, AUD #2, and AUD #3 circulates. |
Unsurfaced Recordings | |
AUD #5 | |
Source | AUD |
Format | DAT |
Equipment | CSHEB > Battery Box > M1 |
Length | ~115m |
Complete? | Unknown |
Notes | Two feet from left stack, on a pillar. |
AUD #6 | |
Source | AUD |
Format | DAT |
Equipment | SS-DSM-6S > PA-6LC3B > M1 |
Length | ~115m |
Complete? | Unknown |
Notes | Mic stand, in front of the soundboard, mildly distorted. |
AUD #7 | |
Source | AUD |
Format | DAT |
Equipment | SS-DSM-6S > PA-6LC2 > M1 |
Length | 109m |
Complete? | Yes |
Notes | Mic stand, 30 feet in front of the soundboard, next to a stuffed bear, mildly distorted. |
AUD #8 | |
Source | AUD |
Format | DAT |
Equipment | CSBMod > M1 |
Length | ~115m |
Complete? | Unknown |
Notes | 10 feet from stage. |
AUD #9 | |
Source | AUD |
Format | DAT |
Equipment | AT-853 > Sound Professionals Battery Box > M1 |
Length | ~115m |
Complete? | Unknown |
Notes | Mic stand, in front of the soundboard, mildly distorted. |
AUD #10 | |
Source | AUD |
Format | MD |
Equipment | CSB Clones > Battery Box > MS722 |
Length | ~115m |
Complete? | Unknown |
Notes | Taped from side. |
PRO #1 | |
Source | PRO |
Format | VID |
Equipment | Unknown |
Length | Unknown |
Complete? | No |
Notes | Filmed for the band using single swing camera |
Setlist
Set:
- A New Poetry
- To Wonder, To Suffer
- Ride a Black Swan
- Cast a Stone
- All Day and All of the Night [The Kinks]
- Love Lies in Ruin
- Jesus, I [Lyte]
- Mary Star of the Sea (tease)
- Who Do You Love [Diddley] (tease)
- God's Gonna Set This World on Fire
- Yeah
- Lyric
- Talking in Your Sleep [The Romantics] (tease)
- Endless Summer
- For Your Love
- Rivers We Can't Cross
- Settle Down
Encore:
- Baby, Let's Rock
- Spilled Milk
Banter
BC: Lights.
A New Poetry
To Wonder, To Suffer
Sweeney: (grunt) (a few gorilla noises)
Ride a Black Swan
> Cast a Stone
All Day and All of the Night
BC: (off mic) What’s the next song? I can’t see. (on mic) Thank you very much, thank you. Thank you. Hey, what a beautiful day today, huh? On a warm day, this is still the greatest city in the world so....
Sweeney: Goin’ hard for the easy - the easy applause line.
BC: Yeah but none of these people are from Chicago.
Sweeney: Oh okay.
BC: Who here is not from Chicago? Who here is willing to admit they’re from Chicago? Heh heh. That would be the category for the rest of them. This is a song called Love Lies in Ruin.
Love Lies in Ruin
Sweeney: Let’s see the slippers. Still can’t see.
Jesus, I
> Mary Star of the Sea (tease)
> Who Do You Love (tease)
> God’s Gonna Set This World on Fire
BC: That’s right.
Yeah!
(BC after Sweeney starts song: That’s a little slow there, Matty. I’m so scared of you starting this song.)
> Lyric
BC: Thank you so very much, thank you. Hey uh, Fred, that linding - that blinding light is...not good. And then I - then when you load lights out the back everyone up front is all squinting and...and look like they’re in pain. It might be the song, actually. [unintelligible] Boy, it’s hot, huh? (Jimmy starts something resembling a heartbeat) Let’s all take a deep breath and just relax. Now the rock is is - it’s old. Just kidding, I’m crawling back to it slowly. (Jimmy stops) Is that my heartbeat?
Talking In Your Sleep (tease)
(BC sings two lines of chorus: I hear the secrets that you keep / when Pajo’s talking in his sleep.)
BC: You know you mentioned you talk in your sleep. You talk in your sleep, did you know that? One night, you kept calling me Ass Colony. It was kind of embarrassing but then I kind of got into it. Sorry Matt, Matt doesn’t like when I joke. This is a song called Endless Summer.
Endless Summer
> For Your Love
BC: Heh, I’m so tired, just can’t summon up the energy. I think if these good people could just cheer. (crowd cheers) Not that good, we need sort of less than that. A stomping like that (demonstrates). More stomping. Never mind.
Rivers We Can’t Cross
(BC talking while Pajo and Sweeney jam: Jimmy’s taking a leak? Heh, we don’t know how long that’s gonna take. Let’s get to know each other, shall we? On the guitar, Mr. David Pajo. On the bass, the enchanted Peace. On the guitar, Matt Sweeney. (song proper starts))
(BC during bridge: I hear a si - hahaha. Gotta start over. (singing) I hear a silence. (normal) No, it’s still shit, right? I’m just laughing to myself. I can laugh to myself, [3 unintelligible words]. I have so many sad years, now you don’t want me to be happy. Sorry, I love you, Matt. Okay, go back to the bottom. (band restarts bridge))
Settle Down
BC: We are Zwan, god bless you, thank you.
[encore break]
BC: Thank you very much, thank you. Thank you. Well, summer is here and the time is right.... I can’t thank you enough, thank you very much. No, thank you. And uh, thank you for being so patient and hot and all that. No, I don’t really care what I’m saying, I’m just like a fucking robot up here. No, I’m just kidding. Like to play a song called Un.... The enchanted Peace says this song is called Baby, Milk Me. Okay, sorry, we’ll just get on with it.
Baby, Let’s Rock!
> Spilled Milk
BC: Zwan! Thanks for letting us jam, thank you very much. Like you people. Jimmy Chamberlin, man. [unintelligible word], Jimmy. Thank you all.