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June 5th
1 show
1 tape
Years
2026
1 show
1 tape
2025
6 shows
11 tapes
2024
6 shows
6 tapes
2023
9 shows
11 tapes
2022
1 show
1 tape
2021
2 shows
2 tapes
2019
8 shows
8 tapes
2018
3 shows
3 tapes
2017
4 shows
4 tapes
2016
7 shows
7 tapes
2015
11 shows
11 tapes
2014
9 shows
9 tapes
2013
8 shows
9 tapes
2012
14 shows
14 tapes
2011
15 shows
16 tapes
2010
7 shows
8 tapes
2009
8 shows
9 tapes
2008
9 shows
9 tapes
2007
8 shows
8 tapes
2006
3 shows
3 tapes
2005
5 shows
6 tapes
2004
7 shows
7 tapes
2003
1 show
1 tape
2002
3 shows
3 tapes
2001
2 shows
2 tapes
2000
4 shows
4 tapes
1999
2 shows
2 tapes
1998
4 shows
5 tapes
2012
5/3/12
Son of a Bitches Brew
20:53
Audience & Tuning
0:22
Shine On You Crazy Dynamite
23:59
Audience & Tuning
0:58
Kawabata's Last Nocturne
3:45
Pink Lady Lemonade
12:04
Om Riff
9:04
Pink Lady Lemonade
4:49
Audience & Tuning & Searching for Cotton
0:38
Cometary Orbital Drive > Speed Guru
13:49
Audience & Tuning
2:15
Dark Stars in the Dazzling Sky
9:48
FIN
View on archive.org
Sources
Taper: ZaPenguin
1:42:24
Taper:
ZaPenguin
Transferrer:
ZaPenguin
SHNID:
amt2012-05-03.r09
Source:
Roland Edirol R-09 > FLAC
Lineage:
Roland Edirol R-09 (onboard mics, low-cut on, AGC off) > WaveLab (levels normalized to -0.25 dB, Puncher (medium density, 75% effect, 0% output gain) + SL-1 StereoExpander (100%)) > GoldWave (patching) > CDWAV (tracks split and saved as .FLAC level 8 ) > foobar2000 (Tags + ReplayGain)
Taper Notes:
View NotesAcid Mothers Temple May 3rd, 2012 The Ottobar Baltimore, MD Source: Roland Edirol R-09 (onboard mics, low-cut on, AGC off) > WaveLab (levels normalized to -0.25 dB, Puncher (medium density, 75% effect, 0% output gain) + SL-1 StereoExpander (100%)) > GoldWave (patching) > CDWAV (tracks split and saved as .FLAC level 8 ) > foobar2000 (Tags + ReplayGain) Location: No surprises here - same little table about six feet to the left of the soundboard that I always use. Patch Source: Roland Edirol R-09HR (SBD feed) > WaveLab (Puncher (hard density, 75% effect, 0% output gain) > Goldwave (volume boosted 200% to match audience, crossfade + patch) > same as above Patch Location: INSIDE THE PA!! Taper: ZaPenguin (zappa.penguin(AT)gmail.com or http://db.etree.org/ZappaPenguin) SOUND QUALITY: A-. The sound is a bit harsh, but also a bit indistinct - certainly not the best recording I've pulled from the Ottobar, but far from unlistenable or anything. The soundboard has its ups (excellent drums and synth) and downs (barely audible guitars). THE BAND: Tsuyama Atsushi: monster bass, voice, cosmic joker Tabata Mitsuru: guitar, maratab Higashi Hiroshi: synth, guitar, voice, dancin'king Shimura Koji: drums, latino cool Kawabata Makoto: guitar, voice, speed guru SPECIAL GUEST: Cotton Casino: voice, dancin'queen, beer guru, asian cool, cosmic smoker TRACK LIST: CD1 [46:14] 01. Son of a Bitches Brew [20:54] 02. Audience & Tuning [0:23] 03. Shine On You Crazy Dynamite [23:59] 04. Audience & Tuning [0:58] CD2 [56:16] 05. "Kawabata's Last Nocturne" [3:46] 06. > Pink Lady Lemonade [12:05] 07. > Om Riff [9:05] * 08. > Pink Lady Lemonade [4:50] 09. Audience & Tuning & Searching for Cotton [0:38] 10. Cometary Orbital Drive > Speed Guru [12:49] ^ 11. Audience & Tuning [2:15] 12. Dark Stars in the Dazzling Sky [9:48] ^ & Notes: * - a musical portmanteau of Gong's "Master Builder" and Steve Hillage's "The Glorious Om Riff". Also known as OM Riff, also known as Om (or OM) Riff From the Cosmic Inferno. ^ - with Cotton Casino on vocals. & - audience recording runs out at 4:50, crossfaded with soundboard between 4:48-4:50, rest of song from soundboard source. MINI BIO: "Acid Mothers Temple & the Melting Paraiso U.F.O. (and subsequent offshoots) is a Japanese psychedelic band founded in 1995 by members of the Acid Mothers Temple soul-collective. The band is led by guitarist Kawabata Makoto and early in their career featured many musicians but by 2004 the line-up had coalesced with 4 core members and frequent vocal guests. The band have a reputation for phenomenal live shows, and releasing frequent albums on a number of international record labels, as well as the Acid Mothers Temple family record label which was established in 1998 to document the activities of the whole collective." - Wikipedia, the free encyclopedia which every 14 year old has edited. BAND PAGE: http://www.acidmothers.com SHOW NOTES: More bullet points: -A triumphant night in Baltimore, featuring both the last performance of Mopar Mountain Daredevils with Cotton Casino and another Cotton Casino and Acid Mothers Temple reunification! -I did get soundboard from this night, but it's really not worth getting terribly excited about - the soundman tonight was neither Brian nor Rob, and he took a different approach to the mix than they do. Either he didn't send the guitar through the PA, or the guitar's never been sent through the PA and tonight there just wasn't any bleed-through from the vocal mics. The resulting soundboard feed has virtually no guitar to speak of - very similar to the Salt Lake City soundboard from last year. The bottom line here is that despite the slightly indistinct sound of this audience recording, I think it's overall much, much better than the soundboard. Though those drums are very, very nicely miced. -All in all, I think the band was a bit more comfortable here in Baltimore than they were in Philly the previous night. Maybe part of it is just needing my own ears to get adjusted to the different material, but for whatever reason, stuff that seemed to plod a bit and lack focus in Philly seemed a lot more driven and defined here in Baltimore. Particularly the new duo of Son of a Bitches Brew and Shine On, the latter of which really benefits from some energetic Tsuyama chatter ("more more more Baltimore"). -I have to say, though, this tour seems to have a lot of dead air. It could really benefit from some Tsuyama tomfoolery between songs - no impromptu bass solos or throat singing, no loop madness, we didn't even get a rendition of Baltimore Beer tonight. The band definitely seems a bit more "laid-back" than on some other tours, yet at the same time I think Shine On is one of their more intense songs, up there with the full La Novia. So maybe "laid-back" isn't quite the best word to describe this year's approach. -...and of course, there's that dead stop between Pink Lady and Cometary. Don't get me started. -Cotton was in fine form tonight. She stumbled on stage, seemingly drunk, brazenly lit up a cigarette in direct violation of Maryland's possibly-idiotic indoor smoking law (the look on the soundman's face at this point was priceless), did a few screams here and there, and by the end of Dark Stars, she was taking a nap on Kawabata's guitar stack. Not sure if that's the most productive place in the world to try and catch some shut-eye, but who am I to question these things? -A longwinded Epic Mystery: In Philly, I was trying to figure out the source of the distorted female voice heard during the "spooky breakdown" / Interstellar Overdrivesque portion in Shine On You Crazy Dynamite (listen around 10:20 of tonight's recording). At first, being unable to see Tabata's effects boxes, I had assumed the organ riff was just a pre-recorded loop, and that this was being played from the same sampler. But by tonight's show, through careful observation and overall more-clear sound, I had become hip to the ways of the guitar synthesizer. Which leaves the mystery of that voice... (the Epic Mystery will be resolved in my notes for the Washington D.C. show) -Old school cassette tapers will probably snicker at me here, because I managed - in today's world, where over three hours of recording time can be held in your wallet! - to run out of "tape". I have nobody to blame but myself - I even considered going back inside for a spare SD card when heading to my car, but shrugged off my nagging doubts. I forgot to calculate the extra ~30 minutes necessary to record Mopar Mountain Daredevils, which basically means that the audience recording managed to run out four minutes or so into Dark Stars. Thankfully, I can use 4GB cards in the R-09HR, so there was plenty of time to spare there. -I spent long enough on that crossfade. It still sounds really weird and poorly synced. If my air drumming, head-nodding, and verbal "one two three four"s are to be trusted, it's synced fine, the problem is a mixture of how drastically different Shimura's kick drum sounds in the two different captures, and the particular rhythm he's using on the snare, where his double-fills bleed together in the audience and are very distinct in the soundboard. Oh well! REQUESTS & REMINDERS: Do not sell this recording. Do not buy this recording. Do not sell this recording, then buy it from yourself. BRING AN EXTRA SD CARD I DON'T CARE IF YOU HAVE TO WALK ALL THE WAY BACK FROM YOUR CAR TO YOUR HOUSE, OH NO, A 50 FOOT WALK, BOO HOO HOO, GO GET THE EXTRA SD CARD YOU BIG BABY. CREDITS: Cross (?) - Sound Baltimore Boppers - Enthusiasm & Energy Torrented by the taper: ZaPenguin email - zappa.penguin(AT)gmail.com web - http://db.etree.org/zappapenguin (always woefully out of date) Band page: http://www.acidmothers.com