- Fortress
- Totally Wired
- The Container Drivers
- The N.W.R.A.
- Fantastic Life
- Lie Dream of a Casino Soul
- Leave the Capital
- Hip Priest
- Prole Art Threat
- An Older Lover etc
- No Xmas for John Quays
- C ‘n’ C
- Hassle Schmuck
- Jawbone and the Air Rifle
- English Scheme
- City Hobgoblins
NOTES
62 minutes
A tad middle of the hall and with reverb/echo but listenable. One of the guitars tends to dominate.
Compared to other nights on the German leg of the tour Mark seems a little restrained. There is still the reference to pantaloons as with most outings in this run but it all feels a bit tired in places.
Notable for the first outing of “Fortress” which is short and shows the bones of the monster it was to become on “Hex”. A good race through “Wired” and “Drivers” lead to an outstanding “NWRA” centred around Mark’s outstanding imagery. That this is followed by an exceptional “Fantastic Life” on its third outing. Riley’s keyboard is the secret ingredient here – minimal but apposite. Single notes and scouring noise applied against scowling guitar from Scanlon.
Mark asks “Is this where “Beedles” (sic) made it then?” before launching into the sixth outing for a jaunty/fun version of “Lie Dream” with some of the words being delivered fast and speedy.
A glorious tight rendition of “Capital” proves to be the centre and high point of the gig. Impressive togetherness by the gruppe here. Mark advises “Right this is a nice laid back one” to a sixth outing for a silky “Hip Priest” – there is a little audience chatter – not too intrusive. Some serious bass from Hanley S here and some nice Frankie Valli noises from Mark as his vox is lost in a veil of echo.”Prole Art Threat” proves to be a “brief summary of GB heirarchy” and has great dynamism and some restrained drumming from Burns.
An tangled and tinny “Older Lover” is followed by a tape flip and a fade in to a declamatory and screeching/howling “J.Quays”. Mark challenges his audience to get the references in a scabrous tour through “C ‘n’ C” which is initially disturbed by some keyboard abuse and morphs into a lengthy “Hassleschmuck”.
Unfortunately my copy of the gig is missing the last three tracks so the review cannot be concluded until these are sourced.