Tears For Fears - Public Hall (1990-02-12) (SBD) (2 CD)

Tears For Fears
Public Hall
Cleveland, OH
Feb. 12, 1990


Excellent soundboard recording

Another stellar recording from "The RS Arvhives"
(a Mexminute/TheCommish production)


TheCommish notes:
Well, you're going to LOVE this awesome-sounding show!
A caveat, however: Since I am not a Tears For Fears fan, I had to research almost all of the song titles below.
I think I got everything correct, but please forgive me if any of the titles are incorrect.
Also, this show came to me as "Unknown venue" and with an April 1990 date. After doing some research, I found that
this Cleveland show was held at Public Hall on Feb. 12, 1990.


Setlist:
101. I Believe
102. Head Over Heels/Broken
103. Change
104. Woman In Chains
105. Advice For The Young At Heart
106. Mad World
107. The Working Hour
108. Famous Last Words

201. I've Got To Sing My Song (Oleta Adams)
202. Badman's Song
203. Band introductions
204. Sowing The Seeds Of Love
205. All You Need Is Love
206. Everybody Wants To Rule The World
207. Encore break
208. Year Of The Knife
209. Shout


Lineage:
SBD > master cassette > CDR > EAC > WAV > Editing (below) > FLAC Frontend > FLAC


Editing notes:
* Re-tracked show (combined WAV files in Nero, then re-split with CD Wave)

Note #1: I decided to create a separate track for the encore break--which is really just crowd applause--since it lasts roughly two minutes; tracking it this way allows you the option of skipping over the "applause" track when you listen to the show...and thereby saving two minutes of listening time.

Note #2: The volume on both CDs is just below 90dB; I did not make any adjustment to the volume, although some of you who prefer louder recordings may want to increase the volume 1-2 dB with your favorite wave editor if you feel the volume should be slightly louder.


Band:
Roland Orzabal - vocals, guitars
Curt Smith - vocals, bass
Adele Bertei - backing vocals
Biti Strauchn - backing vocals
Andrew Davis - keyboards
Carole Steele - percussion
Jimmy Copley - drums
William Gregory - saxaphone, keyboards
Neil Taylor - guitar
Oleta Adams - vocals



About "The RS Archives":
The RS Archive consists of a selection of live recordings made by a great individual who passed away in 2005.

RS worked in the music industry in many capacities….a music fan….a musician….a sound engineer. He was considered one of the best behind the mixing board. I was honored to have known him for practically 35 years. There was no one like him….he was a wonderful human being. Everybody loved him. He was a level-headed guy who knew what sounded good and what didn't. He could conceive and design sound systems from scratch in his head to meet the artist’s needs. Whatever they wanted, he could do.


For years, he mixed music at the annual Grammy Awards and the American Music Awards television show. RS worked closely for years with Daryl Hall and John Oates, Juice Newton, Anita Baker, Mariah Carey, Tears for Fears, Crack the Sky, Kid Creole and the Coconuts, Aretha Franklin, Pink Floyd, Whitney Houston, Bette Midler, Ann Murray, Michael Bolton, Kenny G, Tony Bennett, Johnny Cash, Eric Clapton, John Fogerty, Bonnie Raitt, Frank Sinatra, John Hiatt, Little Feat, Little Village, and Waylon Jennings…..to name a few.

He had a huge reputation in the business, and that's why he was chosen to work with such budding clients as Mariah Carey. With the major stars, he was one of the preferred engineers they choose to work with. A particular client of RS who had a reputation for firing sound engineers with great regularity was Anita Baker, whom he won over not only with his technical abilities and personality, but with his refusal to put up with her criticism. He quit a few times but always came back because she loved the way he mixed her music. He could coddle difficult and temperamental celebrities, and they respected his work. He was able to kick back and get along with them. Even though he knew these people, he was a very modest man.

So now, it is time to honor him by sharing some of the many recordings he made while on the road. All are perfect (or near perfect) soundboard recordings made from the master cassettes or master dat tapes. Unfortunately, I am not able to identify the original equipment these tapes were made on, however I can say that for the transferring process, the cassette tapes were played back on a Nakamichi CR-7A, and the dat tapes on a Sony PCM-R500. They were all burnt onto cdr using a HHB CDR-850.

Please enjoy these tasty gems!
Mexminute (fellow DIME member).

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