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The Cure 10/22/85
Cleveland Music Hall, Cleveland, OH
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Set I
The Baby Screams
Play for Today
Kyoto Song
Primary
Hanging Garden
Cold
A Night Like This
Inbetween Days
Let's Go to Bed
The Walk
Push
Screw
One Hundred Years
A Forest
Sinking

Encore 1:
Six Different Ways
Close to Me

Encore 2:
Charlotte Sometimes
Three Imaginary Boys
Boys don't Cry

Encore 3:
10:15 Saturday Night
Killing an Arab
Do You Wanna Touch *
Set II
 
Set III
 
Comment
Line-up: Robert Smith, Simon Gallup, Porl Thompson, Boris Williams, Laurence Tolhurst.

Intro: The Glove - Relax

* Gary Glitter cover
Last Changed By System
Click 'Edit Show' or the 'Set I(II)(III)' or 'Comment' text to make corrections.
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Collectors With This Show

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User (active/rating) Media / # Show Sound Details DB Source User Source
buc2220 (5/5) HARDRIVE / 2 View   SBD
rockcdr (5/5) CD / 2 View  
Notes: SB
Jack Warner (5/5) FLAC / 0 View   MSC>C>CD
John Champion (5/5) 620 MB / 2 View   SBD 1st generation cassette
sean hite (5/0) / 0 View  
Notes: Soundboard (RS version) Lineage: cassette master > cassette > Nakamichi CR-7A > HHB CDR-850 > CDR, then: CDR > EAC > WAV > Nero Wave Editor > FLAC Remastering: FLAC files > Wavemerge > SF8 and AA 1.0 (volume adjustments and EQ, other minor work) > CDWav > FLAC
WalterO (5/5) / 2 View  
stephen (5/4.8) FLAC / 1 FM View  
MRD6 (5/0) / 0 View  
figurehead (5/0) / 0 View  
Notes: (( 2CD - SBD - Sounds remastered ))
SilentRob (5/0) 627MB shn / 2 View   SBD
Notes: dropout right before In Between days starts beginning of Screw is cut dropout at the end of One Hundred Years very beginning notes of Boys Don't Cry are missing 2 second dropout at the end of Boys Don't Cry (this one sounds like it was like this on the master) In addition, this has "micropops" where the original tracks used to be. These were present when I got the CDRs, and not as a result of any processing. It's noticable but tolerable. This show was normalised with Soundforge 6 because levels were very low. Noise reduction applied to reduce hiss, which was very loud . The resulting recording is quite listenable. This is obviously a recording straight from the board.
eclect (4/4.4) FLAC / 0 A+ View   Trade flac set > SF8 & AA 1.5 (remastering) > CDWav
Zionpower (4/0) / 0 View   AMAZING soundboard
JHG (4/0) cdr / 2 A A View  
mamou1 (4/0) / 0 View  
Ernie E. (3/0) / 0 View  
Trentskers (3/0) CD / 2 A+ A+ View  
Ed (3/5) CD-R / 2 A+ View   SBD!
Notes: This is the remastered version! Quality is outstanding!
CHISOX75 (3/4.8) CD / 2 View  
David H. Johnston (3/0) FLAC / 2 A A View   Traded as flac set (lineage unknown)>SF8 (remastering, see below)>FLAC
Notes: Soundboard Recording
dr (3/5) flac / 0 View  
Notes: Source: SBD Lineage: Traded as flac set (lineage unknown)>SF8 (remastering, see below)>FLAC *This is the remastered version. High end was brought up a bit to compensate for the apparent use of Dolby NR on the master cassette. Levels were evened out, and channels balanced. No NR was used in the remastering process.This is different than the recently posted source at PPTC- I balanced the channels and recording volume on this seed, and brought the high end up just a bit to compensate for the possible use of NR on the master. Quality approaches that of an official release, now. Push has 2 seconds missing at the end of the guitar fadeout at the end. I suspect, due to the timing, that this is a cassette tape flip. Show seems otherwise complete.
Karst de Jong (2/5) FLAC / 2 A A+ View  
Notes: DVD0006
Rich (2/5) FLAC / 0 View   1st generation cassette > Nakamichi CR-7A (playback) > HHB CDR-850 (burning) > CDR,...
Notes: Soundboard recording
itooktoomuch (2/0) FLAC / 2 View   SBD > C(M) > C(1) > CDR > EAC > NERO > flac
Mike Langen (2/4.9) cdr / 2 A View   sbrd
Notes: The Cure Cleveland Music Hall Cleveland, OH October 22, 1985 Soundboard (RS version) Lineage: cassette master > cassette > Nakamichi CR-7A > HHB CDR-850 > CDR, then: CDR > EAC > WAV > Nero Wave Editor > FLAC Remastering: FLAC files > Wavemerge > SF8 and AA 1.0 (volume adjustments and EQ, other minor work) > CDWav > FLAC Main Set: 01. The Baby Screams 02. Play For Today 03. Kyoto Song 04. Primary 05. The Hanging Garden 06. Cold 07. A Night Like This 08. In Between Days 09. Let's Go To Bed 10. The Walk 11. Push 12. Screw 13. One Hundred Years 14. A Forest 15. Sinking Encores: 16. Six Different Ways 17. Close To Me 18. Charlotte Sometimes 19. Three Imaginary Boys 20. Boys Don't Cry 21. 10:15 Saturday Night 22. Killing An Arab 23. Do You Wanna Touch Suggested disc splits: Main show is on Disc 1, all encores are on Disc 2 Remaster notes: Original recording was mastered with the levels a bit too hot. I backed this off, and EQed it to bring the dynamics of this recording to life. Channels were balanced, and a dropout at the end of Push Was removed and crossfaded to make a smooth transition. Remastered by terrapinstation 2009-03-12 Thanks to Mexminute and TheCommish for posting this SBD. ORIGINAL NOTES: Another stellar recording from "The RS Archives" (a Mexminute/TheCommish production) Editing notes: * Re-tracked show (combined WAV files in Nero, then re-split with CD Wave) * Small fade-out applied to end of Track 115 with Nero's wave editor * Deleted small gap at end of Track 205 with Nero wave editor * Volume adjustments (as listed below); with the exception of a few spots, the overall volume of the recording was a little low (before adjustments, the avg. volume of the entire show was 89.4 dB). Volume adjustments: Track 101: +1dB (2:03-2:06 mark), +2dB (2:06-2:09), +3dB (2:09-end) Tracks 102-110: +3dB Track 111: +3dB (0:00-4:25 mark); +5dB (4:25-end) Tracks 112-113: +5dB Track 114: +5dB (0:00-1:14); +3dB (1:14-4:45); +2dB (4:45-10:16); +3dB (10:16-end) Track 115: +3dB Tracks 201-202: +5dB Track 203: +5dB (0:00-0:12 mark); +3dB (0:12-end) Tracks 204-206: +3dB Track 207: +3dB (0:00-0:14 mark); +2dB (0:14-2:22), no volume adj. (2:22-end) Track 208: No volume adj. About "The RS Archives": The RS Archive consists of a selection of live recordings made by a great individual who passed away in 2005. RS worked in the music industry in many capacities….a music fan….a musician….a sound engineer. He was considered one of the best behind the mixing board. I was honored to have known him for practically 35 years. There was no one like him….he was a wonderful human being. Everybody loved him. He was a level-headed guy who knew what sounded good and what didn't. He could conceive and design sound systems from scratch in his head to meet the artist’s needs. Whatever they wanted, he could do. For years, he mixed music at the annual Grammy Awards and the American Music Awards television show. RS worked closely for years with Daryl Hall and John Oates, Juice Newton, Anita Baker, Mariah Carey, Tears for Fears, Crack the Sky, Kid Creole and the Coconuts, Aretha Franklin, Pink Floyd, Whitney Houston, Bette Midler, Ann Murray, Michael Bolton, Kenny G, Tony Bennett, Johnny Cash, Eric Clapton, John Fogerty, Bonnie Raitt, Frank Sinatra, John Hiatt, Little Feat, Little Village, and Waylon Jennings…..to name a few. He had a huge reputation in the business, and that's why he was chosen to work with such budding clients as Mariah Carey. With the major stars, he was one of the preferred engineers they choose to work with. A particular client of RS who had a reputation for firing sound engineers with great regularity was Anita Baker, whom he won over not only with his technical abilities and personality, but with his refusal to put up with her criticism. He quit a few times but always came back because she loved the way he mixed her music. He could coddle difficult and temperamental celebrities, and they respected his work. He was able to kick back and get along with them. Even though he knew these people, he was a very modest man. So now, it is time to honor him by sharing some of the many recordings he made while on the road. All are perfect (or near perfect) soundboard recordings made from the master cassettes or master dat tapes. Unfortunately, I am not able to identify the original equipment these tapes were made on, however I can say that for the transferring process, the cassette tapes were played back on a Nakamichi CR-7A, and the dat tapes on a Sony PCM-R500. They were all burnt onto cdr using a HHB CDR-850. Please enjoy these tasty gems! Mexminute (fellow DIME member). If you decide to download this show, won't you please consider posting a comment on the show's board? It only takes a moment, and believe me, it takes A LOT longer to prepare/upload a show for others to enjoy than it does to download and run. And won't you please consider thanking Mexminute for sharing this mighty fine show with us? Generously shared by Mexminute and uploaded on DIME by TheCommish March 2009
Lost Sailor (2/0) Flac Sbd. / 0 View  
Franck (2/5) FLAC/CDR / 2 A+ View   SBD >1st generation cassette (> Nakamichi CR-7A (playback) > HHB CDR-850
Notes: RS Version REMASTERED 2009 Remastering: FLAC files > Wavemerge > SF8 and AA 1.0 (volume adjustments and EQ, other minor work) > CDWav > FLAC
Rodney's Studio (2/0) CDR / 2 A View   1st generation cassette > Nakamichi CR-7A (playback) > HHB CDR-850
Notes: The Cure Cleveland Music Hall Cleveland, OH Oct. 22, 1985 Excellent soundboard recording Another stellar recording from "The RS Archives" (a Mexminute/TheCommish production) **mp3 samples provided (as always) in the Comments section** Setlist: 101. The Baby Screams 102. Play For Today 103. Kyoto Song 104. Primary 105. The Hanging Garden 106. Cold 107. A Night Like This 108. In Between Days 109. Let's Go To Bed 110. The Walk 111. Push (small dropout at end of track) 112. Screw 113. One Hundred Years 114. A Forest 115. Sinking 201. Six Different Ways 202. Close To Me 203. Charlotte Sometimes 204. Three Imaginary Boys 205. Boys Don't Cry 206. 10:15 Saturday Night 207. Killing An Arab 208. Do You Wanna Touch Me? (Oh Yeah!) <-- Gary Glitter cover (Main show is on Disc 1, all encores are on Disc 2) Lineage: 1st generation cassette > Nakamichi CR-7A (playback) > HHB CDR-850 (burning) > CDR, then: CDR > EAC > WAV > Editing (see below) > FLAC Frontend > FLAC Editing notes: * Re-tracked show (combined WAV files in Nero, then re-split with CD Wave) * Small fade-out applied to end of Track 115 with Nero's wave editor * Deleted small gap at end of Track 205 with Nero wave editor * Volume adjustments (as listed below); with the exception of a few spots, the overall volume of the recording was a little low (before adjustments, the avg. volume of the entire show was 89.4 dB). Volume adjustments: Track 101: +1dB (2:03-2:06 mark), +2dB (2:06-2:09), +3dB (2:09-end) Tracks 102-110: +3dB Track 111: +3dB (0:00-4:25 mark); +5dB (4:25-end) Tracks 112-113: +5dB Track 114: +5dB (0:00-1:14); +3dB (1:14-4:45); +2dB (4:45-10:16); +3dB (10:16-end) Track 115: +3dB Tracks 201-202: +5dB Track 203: +5dB (0:00-0:12 mark); +3dB (0:12-end) Tracks 204-206: +3dB Track 207: +3dB (0:00-0:14 mark); +2dB (0:14-2:22), no volume adj. (2:22-end) Track 208: No volume adj. About "The RS Archives": The RS Archive consists of a selection of live recordings made by a great individual who passed away in 2005. RS worked in the music industry in many capacities….a music fan….a musician….a sound engineer. He was considered one of the best behind the mixing board. I was honored to have known him for practically 35 years. There was no one like him….he was a wonderful human being. Everybody loved him. He was a level-headed guy who knew what sounded good and what didn't. He could conceive and design sound systems from scratch in his head to meet the artist’s needs. Whatever they wanted, he could do. For years, he mixed music at the annual Grammy Awards and the American Music Awards television show. RS worked closely for years with Daryl Hall and John Oates, Juice Newton, Anita Baker, Mariah Carey, Tears for Fears, Crack the Sky, Kid Creole and the Coconuts, Aretha Franklin, Pink Floyd, Whitney Houston, Bette Midler, Ann Murray, Michael Bolton, Kenny G, Tony Bennett, Johnny Cash, Eric Clapton, John Fogerty, Bonnie Raitt, Frank Sinatra, John Hiatt, Little Feat, Little Village, and Waylon Jennings…..to name a few. He had a huge reputation in the business, and that's why he was chosen to work with such budding clients as Mariah Carey. With the major stars, he was one of the preferred engineers they choose to work with. A particular client of RS who had a reputation for firing sound engineers with great regularity was Anita Baker, whom he won over not only with his technical abilities and personality, but with his refusal to put up with her criticism. He quit a few times but always came back because she loved the way he mixed her music. He could coddle difficult and temperamental celebrities, and they respected his work. He was able to kick back and get along with them. Even though he knew these people, he was a very modest man. So now, it is time to honor him by sharing some of the many recordings he made while on the road. All are perfect (or near perfect) soundboard recordings made from the master cassettes or master dat tapes. Unfortunately, I am not able to identify the original equipment these tapes were made on, however I can say that for the transferring process, the cassette tapes were played back on a Nakamichi CR-7A, and the dat tapes on a Sony PCM-R500. They were all burnt onto cdr using a HHB CDR-850. Please enjoy these tasty gems! Mexminute (fellow DIME member).
Ernie (2/0) CD / 1 View  
Julián Orduña (2/5) FLAC / 1 A+ A+ View   SBD> 1st generation cassette > Nakamichi CR-7A (playback) > HHB CDR-850 (burning) >...
Adam Gott (2/4.8) cd-r / 2 b+ View