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cassette side A (46:47.04):
A01. 11 O'Clock Tick Tock (04:45.56)
A02. I Will Follow (03:44.07)
A03. Seconds (04:15.65)
A04. MLK (02:48.59)
A05. The Unforgettable Fire (04:47.55)
A06. Wire (04:01.71)
A07. Sunday Bloody Sunday (04:54.56)
A08. The Electric Co. > Amazing Grace (06:55.47)
A09. interim / comments (00:44.48)
A10. Homecoming (04:32.54)
A11. Bad [cut] (05:15.11)
cassette side B (41:26.00):
B01. Bad [continued] > Ruby Tuesday > Sympathy For The Devil (05:19.17)
B02. October (02:20.64) >
B03. New Year's Day (04:51.25)
B04. Pride (In The Name Of Love) (05:01.48)
[end of main set]
B05. applause (00:44.42)
B06. Knocking On Heaven's Door (09:15.00)
B07. Gloria (04:50.01)
B08. "40" (09:03.28)
[The song "40" includes an a capella reprise by the audience - after the band had left
the stage - even singing over the outdo/set music played thru the P.A., which was
approximately 20 seconds of "Theme From Harry's Game", by the Irish group Clannad.]
- - - -digitizing notes [provided by J-dot]:
This is one of a handful of shows from
"Mr. Smith" that I had also recorded. To the best of anyone's recollections, this
version from the Mr. Smith collection has never seen the light of day until now.
"Mr. Smith" has indicated that these tapes more than likely were not shared publicly,
although there *may* have been a few exceptions.
My own recording was originally shared via old-school tape-trading circles, which would
have been copies made from my own re-compiled 1st-gen master tape. It had never
previously been digitized, but hearing the "Mr. Smith" version prompted me to do so in
2016, as I was pretty sure there were a few differences, sonic and possibly otherwise.
The biggest difference between the two recordings is that the "Mr. Smith" version
misses the walk-on intro, where the band was playing along to "4th Of July", and Bono
greets the crowd, before they launch into "11 O'Clock Tick Tock", and "Bad" is cut in
the middle, due to a tape flip.
The sound quality of both versions is fairly comparable to each other, give or take
varying degrees of whatever unique sonics each taper was able to capture from their
different positions in the venue.
The "Mr. Smith" version has a generally even/flat frequency response, whereas the low
end on the "J-dot" version verges on being nearly overbearing at times, combined with a
sharper high-end. Neither version has a really balanced mid-range, which is what it
really needs, but both sources are a pretty fair representation of what that venue
sounded like, which is exactly what it was - a big box-shaped convention center.
I saw a lot of great shows in that building, but it wasn't the greatest sounding room.
- - - -
original master cassette [2-channel stereo] > Nakamichi DR-3 cassette deck
[Azimuth adjustment applied to playback head] > Edirol R-04 [RCA/analog in; 24-bit/96kHz transfer (.wav)]
> PC [via USB] > CD Wave Editor [Version 1.98; Windows Build Number: 0000.23F0]
(sector boundary tracking) > Trader's Little Helper [Version 2.7.0; Build 172]
(Level 8 .wav > .flac conversion)
- - - -
The “Mr. Smith” Tapes.
Made available to the world through the collaborative resources
of these people:
Recorded in 1985 by “Mr. Smith”.
Digitized in 2016; and technical notes by J. Free
Uploaded in 2016; any additional notes: 01001010
- - - -
Audio / MP3
Bit rate: 224, bit depth: 16, sample rate: 48000, channels: 2
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"We came up with 'Sexy Boots,' and everyone got very excited by the idea and we pursued it, but in the end we just thought it was a bit limiting, and so we took it in another direction. That's the way it often happens with U2."
- The Edge on Get On Your Boots