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Tom Waits 09/25/99
Beacon Theater, New York, NY
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Set I
Black Rider Intro
Jockey Full Of Bourbon
Jesus Gonna Be Here
In The Colosseum
The Heart Of Saturday Night
Get Behind The Mule
Chocolate Jesus
Down, Down, Down
Hold On
Eyeball Kid
Tango Till They're Sore
A Little Rain
Cemetary Polka
Invitation To The Blues
The Briar And The Rose
Innocent When You Dream
Sixteen Shells From A Thirty-ought Six
Gun Street Girl
Who Are You?
Straight To The Top
I'll Shoot The Moon
Filipino Box Spring Hog
Set II
What's He Building?
Heartattack And Vine
Jersey Girl
Set III
The House Where Nobody Lives
Take It With Me
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Last Changed By Bill
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Collectors With This Show

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User (active/rating) Media / # Show Sound Details DB Source User Source
Dwayne (5/5) FLAC / 0 View   Neumann KM-140s -> Sonosax -> Sony D8
Mike Zielinski (5/4.9) CDR / 2 A- A- View   Aud
Notes: Audience
gabriel ricard (5/4.9) cdr / 2 View  
John Cook (4/5) FLAC / 2 A+ A View   (audience recording, no details) > ? > CDR > (unspecified extraction) > WAV > FLAC
Notes: 715 MB, 146:44.
This recording splits "Eyeball Kid" into two pieces (the second piece having Tom's band introduction) and there's a brief overlap between the two parts. Remind me to edit out the overlap if I'm sending you this.
Steve K (4/5) FLAC / 2 A- View   Aud
Brad Foster (4/4.9) FLAC / 2 View   Neumann KM-140s -> Sonosax -> Sony D8 (@16/48)
mamou1 (4/0) / 0 View  
dave p (4/0) / 2 View   various sources
Notes: complete show compiled from various incomplete sources
Akoshi (3/4.9) cdr / 2 View   Aud
Notes: 2cdr
Dave Tjostem (3/0) C90/C60 / 2 A- A- View   aud
mojo7 (2/5) / 0 View  
Notes: FLAC
Moonstroke (2/4.8) FLAC / 2 A A- View   Aud > ?? > CDR trade -> WAV -> Flac (level 7)
Notes: Excellent account of Tom's 3rd of 4 consecetive nights at the Beacon
Rodney's Studio (2/0) CDR / 2 A- View   daud
Tim Smith (2/5) flac16 / 0 9 View   AUD: Neumann KM-140s -> Sonosax -> Sony D8
Notes: Tom Waits Beacon Theatre New York, NY 9/25/1999 Original recording: Neumann KM-140s -> Sonosax -> Sony D8 (master @16/48) DAT playback: Sony R-500 -> Sound Devices 722 digital input (@24/48) Mastered: Soundforge Pro 11.0 - *All file manipulation in Soundforge done at 24 bits*. Volume normalization, Sample rate conversion 48khz to 44.1khz using iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter. Then dithered to 16 bits using using iZotope MBIT+ with Ultra noise shaping, with high dither settings, extreme clap scrubbing / targeted EQ to reduce whistles and banshee-like yells / boosting music while lowering crowd between songs. Tracked in CDWav. Tagged in Tag&Rename 3.8 RC1 1. The Black Rider 2. Jockey Full of Bourbon 3. Jesus Gonna Be Here 4. In the Colosseum 5. (Looking For) The Heart of Saturday Night 6. Get Behind the Mule 7. banter - intro to Chocolate Jesus 8. Chocolate Jesus 9. Down, Down, Down 10. banter - intro to Hold On 11. Hold On 12. Step Right Up/Eyeball Kid 13. Tango Till They're Sore 14. banter - leeches 15. A Little Rain 16. banter - Uncle Eddie 17. Cemetery Polka 18. Invitation to the Blues 19. banter - creamed 20. The Briar and the Rose 21. Innocent When You Dream 22. 16 Shells From a Thirty-Ought-Six 23. Gun Street Girl 24. Who Are You 25. Straight to the Top (Rhumba) 26. I'll Shoot the Moon 27. banter - something about food 28. Filipino Box Spring Hog 29. encore break 30. What's He Building? 31. Heartattack and Vine 32. Jersey Girl 33. encore break 2 34. House Where Nobody Lives 35. Take It With Me Smokey Hormel - guitar Danny McGough - keyboard Andrew Borger - percussion Larry Taylor - bass / guitar Taper notes: I scrubbed COUNTLESS claps, banshee-like screams, and whistles from every song in this recording. Note that track 1 was (I believe) sung through a megaphone - NOT into the PA microphones, and sounds really distant/bad. Please don't judge the sound of this recording based upon that one track, give it a bit. Also, it took a tremendous amount of mastering work to tease the really really good recording you have in your hands from the original master tape which suffered from the major problem of a mostly semi-quiet concert and extremely LOUD / boisterous NYC audience. I painstakingly raised the level of each song while keeping the clapping between songs at its original level or sometimes reducing its volume. Also, some of the nearby yells from the crowd were many decibels louder than the music, so I used some spectrum analysis and notch EQs to analyze and reduce the presence of every individual yell, whistle, etc. Sometimes they removed very cleanly and other times not as much, but either way they should be far less present/distracting now! Also note that this is still far from perfect, but it's the best I can do (in fact, it's a good thing I waited until I completed 162 other BARN series releases because I have picked up a lot of mastering tricks over the years, so this is a lot better now than it would have been a few years ago...) So, after a ton of work and nearly 15 years after this concert performance by a legendary performer who rarely tours anymore, I am extremely proud to present to all music aficionados my never previously circulated (and heard by almost nobody until now) recording of Tom Waits from the 3rd night of his run at the Beacon Theatre in NYC in 1999 as BARN163. Tom, as far as I know, has never allowed open taping, so while I have no recollection at all of how I came to posess this rare and coveted ticket (and attend the show solo), I made sure to borrow some "stealth" recording gear from a good buddy -- as my large diaphragm Neumanns that I usually use are decidedly quite the opposite of stealthy and very conspicuous. This was a mesmirising show, with Tom mixing in a great selection of tunes from his then-current (and amazing) "Mule Variations" album ("Get Behind The Mule", "Chocolate Jesus", "Hold On", "What's He Building", "House Where Nobody Lives") with some of his most well known / all time classics ("Jersey Girl, "Jockey Full Of Bourbon", "(Looking For The Heart Of) Saturday Night", "Heart Attack And Vine"). He was quite the showman, at one point donning a disco ball hat that got lasers bounced off of it, at another point making confetting (or something similar) come out of his hat, and doing some occasional parlor tricks onstage. The music here ranges from poignant, touching ballads that will break your heart ("Hold On", "Innocent When You Dream", "House Where Nobody Lives") to all rockers ("Filipino Box Spring Hog", "16 Shells...", "Chocolate Jesus", "Heart Attack And Vine" and others) with some vaudville-inspired songs sprinkled throughout. His onstage banter remains as sardonic as ever...for example, as he explains his inspiration behind the song "Chocolate Jesus". The song "What's He Building" deserves special mention as this one manages to evoke a David Lynchian (or maybe horror movie-like) psychodrama onstage. His backing band is a-one perfect, matching Tom move-for-move, and features Smokey Hormel on guitar (who many of you know from his work with Beck, Norah Jones, Joe Strummer etc.), and on drums/percussion, Andrew Borger who is now a part of Marco Benevento's trio. This is the only time I've ever seen Tom Waits live as he tours so very infrequently and does not hit NYC most of the time, even when he does. Anyway, I put a lot of work and love into making this recording as good as can be, and I hope you all appreciate it. I guarantee that even if other sources for this show exist, none of them are going to sound THIS good! Enjoy!!! Recorded, transferred, mastered, tracked, tagged, and posted by Scott Bernstein Special thanks to The Vanilla Genius for hooking me up with the loaner gear! DAT Transfer: 11/28/2011 Mastering, tagging, and posting: 5/18-22/2014
djwilly (2/5) CDR / 2 View   Audience
Stefan Schmitz (2/0) / 0 View  
Rob Hansen (2/5) cd-r / 2 A B- View  
John Schindler (2/5) cdr / 2 View   AD
Notes: Cemetary Polka and Invitation missing
Jerry Morgan (1/5) cd / 2 View  
newgrass (1/0) cd-r / 2 A+ A+ View   aud
HD (1/5) FLAC / 1 View   Neumann KM140's > Sonosax > Sony TCD-D8 > DAT-M > FLAC
michael rosenberg (1/5) cdr / 2 a a View   AUD
arthur (1/4.9) shn / 1 View   various sources > cdr > eac > shn
Notes: complete show
Gemini7 (1/5) CD-R / 2 View   Audience CDR
Notes: BT BU 135
Chris Buske (1/5) CDR / 2 View  
Scott Rosen (1/5) flac / 2 View  
Notes: CDR trade -> WAV -> Flac (level 7)
BoneMachine (1/5) CD / 2 A A- View  
Bill (0/5) cd-r / 2 View  
Isaac Powrie (0/5) CD-R / 2 View  
-SoG- (0/5) Flac / 1 A View   Source: AUD. CD-R > EAC > FLAC
Notes: Audience Recording Source #2: Source: Neumann KM-140s -> Sonosax -> Sony D8 (master @16/48) -> Sony R-500 -> Sound Devices 722 digital input (@24/48) -> Soundforge Pro 11.0 -> iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter -> iZotope MBIT+ with Ultra noise shaping, with high dither settings, extreme clap scrubbing / targeted EQ to reduce whistles and banshee-like yells / boosting music while lowering crowd between songs -> CDWav Sound Quality: AUD A