Friday, 30 April, 1982 – Porterhouse, Retford, England

  1. Backdrop
  2. Look, Know
  3. Tempo House
  4. Lie Dream of a Casino Soul
  5. Mere Pseud Mag Ed
  6. Solicitor in Studio
  7. Just Step S’ways
  8. I’m into C.B.
  9. Joker Hysterical Face
  10. Hexen Definitive
  11. And This Day
  12. The Container Drivers

NOTES

85 minutes

Very good audience tape. Some distant audience noise but nothing intrusive. Sound is clear and crisp and all instruments are well presented.

A breathtaking start with state subsidised cannabis haze moving reptilian in its all levelling routine in an exemplary tension/release exercise with tight driven percussion, jangling guitar and insouciant narration from his nibs. The tendency on this tour to worry the audience into dumbfounded acceptance with lengthy exercises in unmitigated Fall-ness with the opening number is a testament with the self-awareness of the group and its following. Tonight however the band goes the extra mile with an opening three number barrage which lasts an exhausting twenty five minutes. “Look Know” is taken at an exacting pace and is dominated by superb bass from Steve and some excellent Beefheartian licking from Craig – I’m not aware of another version of this song lasting as long as nearly 8 minutes! If that was not enough then there is a studied and intense, albeit langurous, ramble through “Tempo” lasting over 8 minutes which develops a funky affordability over some seriously industrial keyboard noise from Riley. At once alien and local with Hanley S throttling his Fender B into submission.

Probably the most complete live version of “Lie Dream” ever follows, exceptionally tight and full of joyous venom. Mind you “Pseud Mag” is not far behind with some sparky vocal work from Mark and intense playing from the boys. And then more pleasure with a great rendition of “Solicitor” – perhaps a little lethargic in the drum area – but generally something in the tone Steve is able to conjure from his bass transcends that small gripe. An intense and rewarding experience.

“Sideways” is similarly wondrous. The Fall at their most complete and exacting. A thud-thud-thud of unstoppable rhythm counterpointed with bass n guitar laminal noise with the leader yelling uncompromisingly into the Nottinghamshire night. A chirpy and funky “C.B.” is a masterpiece in rhythm from all players – the audience howls – the band plays with time and space and noise to create a menu of auditory wonderment. Mark passes a scabrous comment about museums before “Joker” which is its usual rolling and tumbling dance with pleasure/pain – this band could really dance when it tried especially when it was calling on Ted Rogers brain.

A slight reduction from the aural onslaught is provided with a measured and comparatively subtle reading of “Hexen” leading to an audience levelling 18 minutes of “And this day” which defies description and has to be heard to be believed.

Matters conclude with a tumble through “Container Drivers” which suffers from an indistinct vocal from Mark.