Let's keep this simple. I enjoy going to shows and taking pictures, recording video and more recently, making audio bootlegs. I also enjoy sharing. Anything I post here (unless otherwise noted) will come directly from me. Twitter: @EddieCashNJ
If any artists really want me to take down a link, I won't be happy about it, but I'll do it. Just let me know.
Another one from Bamboozle. This time it's New Found Glory, who put on one of the more energetic sets of the day. I only missed the first song. Not bad considering the hectic schedule. Quality is ok. Not the best, but not bad at all.
"Don't Let her Pull You Down"
"Hit or Miss"
"All Downhill From Here"
"Truck Stop Blues"
"Kiss Me"
"Failure's Not Flattering"
"Truth Of My Youth"
"Blitzkrieg Bop" (w/Marky Ramone)
"Intro"
"My Friends Over You"
Unfortunately I didn't get the entire Gaslight performance on tape. I was watching a different band when they went on so when I ventured over, Gaslight was just finishing up the first half of their set. After drinking for many hours I pulled up some asphalt safely away from the crowd, set the recorder on the ground and watched the rest of the show. As you can hear, my proximity to the stage takes nothing away from the quality of the recording. I'm continually surprised by how good this tiny piece of technology can capture live music. I hope you feel the same way.
Photo courtesy of Future Breed. Check out his website and spend hours looking through all the great stuff he has.
I can honestly say I haven't heard the entire recording of this yet except for tidbits so I could adjust the audio. I figured I'd just post it anyway and deal with it later.
*Update (Cinco de Mayo, 2011)... finally listened to it last night. Audio is pretty good. It's clear enough, but since it was outside it has a funky feel. You can also hear a friend tell me about how she failed getting me a beer during one song. Overall, it's still probably just as good or better than a lot of bootlegs on the internet.
This is pretty much RCE's entire set from Bamboozle. They jumped off the stage at the end and did a song in the crowd, but it was impossible to hear so I stopped recording. I also had to piss like a motherfucker.
UPDATE #2: (7.10.11): Our friends over at The LuceroArmy Tumblr may or may not have hooked this show up again. Click the link and find out.
UPDATE (5.24.11): I just noticed this file was removed due to a violation of the terms of service. Not really sure what that means, and I'm not happy about it, but I'll play nice for now and leave it down. For those of you who scored this gem before it was too late, enjoy it. For everyone else... apologies.
Pretty good recording for a festival atmosphere. Not too much background noise considering there were nine stages of music. I had my recorder set in a good location. Frank broke a sting at one point and had problems with his guitar during another song. Shit happens I guess. Still... a good piece of audio.
"I Knew Prufrock Before He Got Famous"
"Try This At Home"
"I Still Believe"
"I Am Disappeared"
"Dan's Song"
"Long Live The Queen"
"The Road"
"Photosynthesis"
The audio is real good. The review is a bit cheesy. Here's how I wrote it up for The Bowery Presents:
You owe it to yourself to see Tim Barry play at least once. And if not Barry, an artist with an equal amount of honesty and integrity. There are too few troubadours these days—and too few musicians who care less about opulent lifestyles or trends or making a name for themselves. We’re talking about someone who is willing to stand onstage and connect with the audience on a human level. Not someone singing to you, but singing with you.
With three well-received solo albums behind him, the (perhaps) former frontman of the seminal punk band Avail, took his solo act to a sold-out audience at Mercury Lounge on Saturday night. It was there, acoustic guitar in hand, that Barry took another step toward solidifying his reputation as a modern-day underground version of a young Johnny Cash. Battling a sore throat, Barry soldiered through an hour-long set with little accompaniment. He sang about hopping freight trains and living simple, topics not exactly native to the hustle of our fair city, but romanticized through his Southern folk style.
At one point Barry hopped into the crowd, sans microphone, and did a rousing version of “Bus Driver” with his jubilant fans easily filling the room as backup singers. He later introduced “Prosser’s Gabriel,” a song about a slave uprising, by reminding the crowd that all it takes to make change happen is the ability to care. Barry, a man who doesn’t do encores, finished the night with two audience favorites, “Wait at Milano” and “Avoiding Catatonic Surrender,” and the accompanying sing-along chorus proved to be more fitting than any applause that could warrant a curtain call.
