I saw Steve Ignorant of Crass perform at Bottom Lounge a couple of years ago. Best concert I saw that year. It was brilliant. Never did I think I would ever get a chance to see any manifestation of Crass live. Don't care that it was 30+ years too late. Edit, I just checked and it was over 5 years ago. Shit, I am old.
By the way, I don't know if anyone is into pro audio gear here but those TRex live shows were with the multiple stage amps while Cpt. Bfhrt's amps seem mic'd. The conversion from the full range stage amps to the separates w/mixers took place among the top touring acts of the era (Grateful Dead, The Who, Led Zeppelin) around 1972. This is Deep Purple from 1972, with a stack of Marshall stacks (a twin 4-speaker combo amp, normally with 100 watts of power --- Blackmore had twin Marshall Majors with 200 watts ... DP had about 1,500 watts total, enough to cause an ear bleed to the several front rows) This is from April, 9th, 1974 ... the on-stage speakers are used only as foldback (for the musicians to hear themselves) ... otherwise, there was a five story stack of speakers, powered by 54,000 watts put together by the Tycobrahe company, with SPL of 105 a mile away. Article on the PA system - http://www.prosoundweb.com/article/history_files_tycobrahe_sound_company_and_the_california_jam/
Slightly off-off-off-topic. (if anyone is interested) The Public Adress systems (hence known as a PA) basically had two different traditional setups. One was for movie theaters (aka, the talkies) developed in the late-1920/s1930's. Those usually involved large (like room size large) folded horn speaker systems. They were very efficient, which they needed to be for the low powered tube amps of the era. The other "live performance" PA system developed from the post-war II guitar amps, which also had a mic input. First reasonably priced amps and guitars are generally credited to Fender and its late-1940's Tweed series combos with two 10" Jensen drivers and about 18 watts of power and, naturally, its Telecaster (aka "Tele") and Stratocaster (aka "Strat") guitars. 18 watts was more than sufficient for studios and medium size clubs. That's what made the rock-n-roll sound, though the music type itself goes back to the 1930's. In 1955, Fender released a "Bassmaster" (as in musical sound, not in fish) due to the demand from the bass player for something louder (a lower frequency signal requires more power). BM had 50w of power and four 15" drivers and also served as an inspiration for the Marshall stack (inspiration is a misnomer ... Marshall basically ripped off Fender, albeit with the English tubes and drivers because the American made were a lot more expensive). Because the stages and the audiences were getting bigger and bigger, the next big move was the introduction of multiple amplifiers producing the same sound. That could have been done several ways - by running a splitter from a guitar to two amps; by daisy-chaining amps together, aka the Jimi Hendrix method; or by using a mixer with several inputs and outputs. This went on as late as 1972. The change to a new PA design was forced by an accident. A few months earlier, Grateful Dead was touring Canada, with the band getting arrested for possession (mostly controlled substances, with a mix of underage girls). The band lawyers got them out of Canadian jail on bail but, as the condition for future court appearance, the Canadian law enforcement kept the group's then state-of-the-art PA. Since the band was touring non-stop, they needed to buy a new system pronto. And here's a fate turned up just in time. With a St. Louis date coming up, someone informed Garcia,Weir, et al, about a young hobbyist who put together a system for a St. Louis theater. The gentleman's name was Robert "Bob" Heil and he has been building - and often tearing down - all sorts of electronic gizmos since an early age. Heil was a big admirer of Paul Klipsch, an engineer behind the Klipschhorn. Bob's systems were then much closer to the traditional movie theater multiple driver design than to the roll&load of the era. Dead listened to the system and apparently were sufficiently impressed to make an immediate order. Then the Who and Led Zeppelin heard about it and decided that it was far superior to what they were using as well and contracted Heil to build their PA's ASAP. The stack of Marshall stacks basically became obsolete overnight, although some heavy metal bands like Judas Priest, AC/DC and Pantera kept half the stage still occupied by the Marshalls, albeit often purely as furniture.
Sorry. I am a bit into gear talk too. It's all intertwined. In fairness, I used to be in the audio electronics a while back. Move long.
Long time no post. A tribute to my dying father going into hospice very very very soon.... I love you ol' man. This one's for you....
Belorussian singer Petr Efimov (and a State Symphony Orchestra) with the Deep Purple classic "Child in Time" (In English)
I do that all the time, I'll say something was a couple years ago and it will be like 96'. Time just flies 3x as fast after 21 and 5x as fast after 30. Hauptman gathers TAM in masses Just like witches in black masses