This show also had a band that Kent Stax was playing with when he left Scream. This was a fun night.
1. | Intro | |
2. | Joe #1 | |
3. | Bad Mouth | |
4. | Interlude 1 | |
5. | Furniture | |
6. | Interlude 2 | |
7. | Waiting Room | |
8. | Song #1 | |
9. | Burning | |
10. | Interlude 3 | |
11. | Merchandise | |
12. | Interlude 4 | |
13. | Suggestion | |
14. | Break-In | |
15. | The Word | |
16. | KYEO |
Please Note: Available recordings have been mastered to correct for volume shifts, drop outs, etc. but some sonic anomalies will still exist, especially early in the set when the mix is being settled. The band has rated each show for sound quality and set the general price of a download at $5 per show. If you have a different price in mind feel free to utilize the alternative pricing option.
This is the second gig the band played in the state of Virginia, and it is set as part of a short string of 1988 winter and spring regional tour dates.
Maintaining an open door policy, Ian introduces "Vladimir Vartovsky" at the beginning of the recording, who will provide a handful of musical interludes on the organ throughout the show. According to the show side notes, the guest is actually none other than Ian Svenonius.
At that time up-and-coming (his first band Ulysses or Nation of Ulysses was formed in the spring of 1988), the now infamous Ian Svenonius is portrayed by Chris Richards in his May 8, 2014 article "How the 'Sassiest Boy in America' became the most interesting man in rock-and-roll" as "an underground rock star, an icon of the D.C. punk scene, an author and an auteur, a pontificator equally versed in astrology, Castro, forgotten soul 45s and the politics of the radical left. He’s frequently the coolest person at the party and his hair always looks terrific."
Still, the problem with the sparse contributions on the organ by Mr. Svenonius on this recording is that these suffer from the subpar sound quality, rendering parts hardly discernible.
Overall, I find that this recording is quite sharp on the ears, that the guitar and drums drown out most of Joe's bass most of the time and that you get quite a bit of annoying distortion with the occasional crackling or tearing sound as well.
However, if you are willing to look past this, you will find that there is nothing really wrong with the performance by the band itself, and that the audience is very much into things as well.
In this regard, personal favourites include Waiting Room, Merchandise, Suggestion or The Word. For the record, do note that KYEO, still in its extended version, is incomplete.