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August 18th Bimbo's One Recording Notes :Core
Sound High End Binaurls DPA 4061 > modified core sound battery box
w/rolloff at 80 > M1 Transfer: Sony DTC deck (forgot the model #)
> optical cable > Philips CDR880 > CDR audio raw dump >
EAC secure mode > SoundForge 4.5 (normalize peak value) > CDWAV
> CDR > SHN
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Several
audience recordings exist (and possibly an FM)
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Review from SFGate: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/08/20/DD61861.DTL Coldplay opens up vast yet intimate world "This is f-- cheesy," Martin chortled, brandishing
a cell phone. "This is the type of thing Bono does in stadiums,
calling on a cell for a sick girl. But f-- it." He made the call, placed the phone on the stage, then
led Coldplay into "God Put a Smile Upon Your Face" from the
band's new album. Starting as a hushed acoustic ballad, the song built
into a roar of acid-rock distortion and soaring, bittersweet vocals.
It was quite the serenade, and it captured both the
mood in Bimbo's and the new direction Coldplay takes on its forthcoming
album, "A Rush of Blood to the Head," in stores Aug. 27. At
once intimate and vast, it marks a turning point for the British quartet,
whose Grammy Award-winning debut album, 2000's "Parachutes,"
and its hit single, "Yellow," established it as second-wave
Brit- pop's first breakthrough group. To launch the new CD, Coldplay has embarked on a small-club tour (the band returns to the Bay Area for a larger show at the Greek Theatre on Sept. 6), with tickets available online for its most hard-core fans. With Martin seated an upright piano, the members of
Coldplay emerged from a wave of fog to open their 90-minute set with
"Politik," the first track from "A Rush of Blood."
As the song moved from rhythmic pounding toward a sweeping coda, it
set a tone for the night's music, which alternated between soft, confessional
verses and lavish choruses. The group embellished and reworked material from its
first album and 1999's "The Blue Room" EP to fit its more
complex new sound. "Shiver" and "Spies" became heavier
without losing their melodic roots, and "Trouble" remained
catchy enough to inspire the crowd to sing along. Not surprisingly,
the surging dream pop of "Yellow" ignited the night's most
enthusiastic response. By song's end, Martin simply turned the microphone
over to the crowd for a note-perfect sing-along. Whether hunkering at the piano, whirling in circles with a guitar or crawling over the monitors to reach the audience, Martin was the music's soulful nexus. His keening falsetto invested the brightest lines with emotional depth, turning a lighter song like "In My Room" from an infectious pop tune into a cathartic love anthem. "See You Soon" and "Everything's Not Lost" were delivered as gorgeous plaints, and the night's best number, "The Scientist," juxtaposed lilting musical simplicity with thoughtful, melancholy lyrics. Coldplay ventured into fresh psychedelic turf on "Daylight,"
with guitarist Jon Buckland sliding through chord changes to create
an Eastern-tinged backdrop. "Clocks" featured ornate exchanges
between guitar, piano and drums that perpetually shifted the number's
mood and texture. Before launching into an encore rendition of Echo and
the Bunnymen's "Lips Like Sugar," Martin sang the sweetly
haunting "Life Is for Living." It takes a rare grace to pull
off a line like "Life is for living . . . and I don't want to live
it alone" without sounding hackneyed; Martin made it heartrending.
"For $15, we could come on naked and play Bon Jovi songs," he joshed at one point, referring to the show's low ticket price. Judging by Sunday's performance, it's possible that they could -- and make it sound transcendent. |
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reviews: Electroclash: This is my first time posting here, and I'm awful in
writing reviews, but I just can't keep my mouth shut. Last night was
the most amazing gig I have ever had the pleasure of attending. I hate
to say it, but it topped the Norah Jones one (by the way, I'd like to
send a shout out to the two Norah Jones' fans in line--EVIL DEAD RULES!).
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