Taper : ianmacd
Rig: Factory-paired DPA 4060 microphones (with windshields) -> DPA MMA6000 amplifier (100 Hz low-cut filter) -> Edirol R-09HR recorder (44.1 kHz/24 bit WAV)
Length : 104.46
01. Intro
02. I Wanna Be Adored
03. Mersey Paradise
04. (Song For My) Sugar Spun Sister
05. Sally Cinnamon
06. Where Angels Play
07. Shoot You Down
08. Bye Bye Badman
09. Ten Storey Love Song
10. Standing Here
11. Fools Gold
12. Something's Burning
13. Waterfall
14. Don't Stop
15. Love Spreads
16. Made Of Stone
17. This Is The One
18. She Bangs The Drums
19. Elizabeth My Dear
20. I Am The Resurrection
Sample :
The Stone Roses - Sally Cinnamon - Manchester 30th June 2012 [ianmacd]
http://www.filedropper.com/thestoneroses-sallycinnamon-manchester30thjune2012ianmacd
NOTES:
The merciful weather (I hesitate to call it good) that we enjoyed on Friday was never going to last. Saturday will be remembered as the day that the rain came down.
As I arrive on site, the grass of Heaton Park is the worse for Friday's wear and rapidly undergoing its inevitable transformation into mud, trampled underfoot by 75,000 punters on Friday and facing another 75,000 today. Everything around the field looks a measure or two grottier than it did 24 hours ago.
On the way into the park yesterday, I'd been subjected to a bag search that had revealed one of my recorders, but the guy waved me through, anyway. Today, I have no rucksack with me, because my second rig is in the hotel, safe and sound, far removed from the ravages of the Mancunian rain. As such, I waltz into the park unchallenged.
Each time the heavens open, I console myself with a figurative pat on the back for having had the wisdom to bring with me only the essentials. On the other hand, I also chastise myself for travelling so light from Amsterdam that I don't have waterproof clothing with me. It was a deliberate decision, rather than an oversight, but there are moments today that I regret it.
The Saturday line-up consists of Hollie Cook, Professor Green (during whose set Lily Allen puts in an appearance), The Wailers again, Beady Eye and, of course, The Stone Roses. Of these, I record the final three.
After undergoing several unforgiving dousings, most notably during The Wailers' set, I am slowly drying out after spending much of the afternoon shivering and protecting my recording gear from the elements with polythene bags (which I did at least have the foresight to bring).
How can it possibly be this cold on the last day of June? Answers on a postcard, please.
The crowd gets boisterous during Beady Eye's set when they break into 'Rock 'n' Roll Star'. The thought occurs to me that the audience reaction must be a bittersweet thing from Liam's point of view. On the one hand, you still have the capacity to generate a mental reaction from a field full of people, but on the other, you're achieving it with a song from the early days of your last band, the songwriter of which is the only person who didn't make the transition to your new band. And it really shows. Beady Eye just don't have any memorable songs and are trading on their frontman's persona.
It was looking as if the remainder of the evening would remain dry, but a few minutes before the Roses were due to come on stage, it starts to rain again, albeit not as heavily as earlier in the day.
We're packed into the pit pretty tightly now, the body density keeping all but our head and shoulders dry, the resulting warmth causing much of the rain to evaporate upon impact. This is a good thing, as it will continue to rain for a good two thirds of the Roses' set.
An unexpected annoyance rears its head from behind. Over the course of the last half an hour, the soundboard tent has been steadily filling with people sporting an exclusive-looking, shiny silver pass on a cord around their neck. Most of them are women and look more like footballers' wives than typical gig-goers. They certainly aren't dressed for the occasion. WAGs, perhaps?
Anyway, some of them decide to climb down from the tent's platform and stand in the stewards' trench, directly behind the barrier that separates the back of the pit from the soundboard area. Unfortunately, they're more interested in talking to each other than they are in enjoying the music.
It's bad enough to have to listen to the inane chat of paying punters, but when it's coming from people who didn't have to endure the chaos of purchasing tickets on day zero, nor even pay for their own ticket, nor brave the rain for their prime location, it's more than a little irritating.
The set is identical to the previous night's, which comes as no surprise.
During 'Love Spreads', you'll hear cries of "Hold her up!" This is the point at which one of the glamour pusses behind me is hoisted over the barrier and, in her very expensive-looking sequinned dress and totally inappropriate footwear, proceeds to crowd-surf across half the length of Heaton Park towards the stage.
I find myself a) admiring her pluck and b) wondering how much she's had to drink in order to want to do that, because there'll be no coming back. Chatter from the rear reveals that it's Zak Starkey's (i.e. Ringo Starr's son's) girlfriend.
It's a white hot set again. Some people will tell me later that it was more enjoyable than Friday, partially due to a better atmosphere. For my money, though, the two performances are virtually inseparable in verve and I didn't notice much of a change in the atmosphere between the two nights, either. I did, however, notice that the pit filled up much earlier than on Friday, but that's easily explained by the fact that today is the weekend and fewer people had to work.
As on Friday, the band hug at the end of 'I Am The Resurrection' before leaving the stage. As Bob Marley's 'Redemption Song' pipes up over the PA, fireworks once again illuminate the night sky.
Once again, it's carnage outside the gates and it takes considerable time to even reach them and make it outside onto the street. As we funnel through the narrow exit, there's a lot of jostling as too many people compete for too little ground.
The 6½ km back to my hotel are as dull as they were the day before, but I've had slightly more sleep and take it in my stride; quite literally. This time, it's only 01:00 when I arrive, mostly thanks to not getting lost this time when I reached the centre.
And so to the recording, the reason you're here.
Rather than stand a few metres from the back of the pit, I went all the way back today and stood with my back against the barrier. That was partially to eliminate any chance of flying beer landing on me, but also in the hope of reducing crowd noise. It backfired to a certain degree, due to the non-paying guests behind me, but their chatter was intermittent, at least, and doesn't ruin the recording.
I also had the impression that the gig was slightly less loud tonight, but that could be just my imagination.
Anyway, I would once again caution you not to expect miracles from a recording obtained in a field full of 75,000 drunken revellers. The recording is listenable, but overall not as good as Friday's in my opinion.
As always, samples are included, so you can judge for yourself whether this is one for you.