please consign this info-sheet with the shared music - thanks !
the RESIDENTS feat. Penn Jillette
- May 25, 1983 -
Secession, Vienna, Austria **
audience 1st gen. analog, MWM 0200 **
>> COMPLETE 76mins "THE MOLE SHOW" from their European tour, partly in ESPERANTO !
AWESOME QUALITY ! UNCIRCULATED ?? << w/ samples
dear friends,
this is obviously our upload #200 (165(+2) by the old & retired Leo, 35(-2) by me).
THAT'S ENOUGH. I know that there is more in the archives to reach #225, maybe #250.
But this summer series about famous Vienna tapers (back then) starts to suck. None of
them showed up, neither from their Central-cemetary, nor from their golf-courses where
they are watching small balls instead of having some good old dirty sweaty intercourse...
So here is one of the last Vienna uploads (more next summer, promised...).
A VERY SPECIAL ONE. ART. TRUE ART !!
WITH ANOTHER COMPLETELY TRUE, BUT WHACKED OUT STORY...
THIS ONE HERE IS DE FACTO NOT ONLY ESSENTIAL FOR EVERY MUSIC COLLECTION,
BUT ALSO FOR EVERY ANDREW LLOYD WEBBER, RAY DAVIES & PETE TOWNSHEND FAN...
(THIS IS DEFINITELY THE BEST ROCK OPERA NOT WRITTEN BY ONE OF THEM !).
BUT IF YOU'RE STILL NOT INTERESTED IN THE ARTISTS OR THEIR MUSIC, YOU'LL
NEED IT BECAUSE OF THE FOLDER WITH PHOTOS AND SCANS. SOME OF THE MOST
DISGUSTING STUFF EVER SHARED VIA DIME: RESIDENTS-PICS, ALL KIND OF MOLES
IN ALL KIND OF SITUATIONS, DRESSED AND NEKKID - CUTE, DECENT OR DIRTY...
TAKE THIS WARNING VERY SERIOUS - I WANT NO COMPLAINTS, LATER...
Thus having written, let's start:
World famous The Residents start their "Live Era" with the incommensurable "The Mole Show".
For the Youngsters her, knowing nothing about moles: There's actually a TV-broadcast on
German "WDR" about them kind of individuals, at Güterbahnhof in Duisburg, it's called
"Love Parade 2010" - over one million of them "floating" in circles around an old railway
station, joined by some trucks with "leaders of the dance", dancing and moving, showing
their sparely dressed, half or completely naked bodies to everybody interested, backed
by really bad "music", for hours and hours - A COMPLETELY STRANGE KIND OF MATING DANCE !
But back to The Residents and their truly incredible kind of art apprechiation...
They played Vienna during their European part of "The Mole Show" twice - on March
25 & 26, 1983 - both shows have been recorded by some unprincipled Vienna tapers...
Please read THE MOLE SHOW DIARY:
There is little within The Residents’ world that is so rich with emotion as The Mole Show
tour of Europe. It is still discussed with relish, but tears flow easily when the memories
become too “memorable.”
One of The Residents actually kept a diary of his travels on that tour and graciously
offered a portion for this book. He explained to me that The Residents are often difficult
to understand because their projects are so often defined by personal struggles. He hoped
that the diary would shed some light on what The Mole Show was actually about.
5/25 & 26/83 - VIENNA.
Too beautiful a city for such a bad show, but the next one was much better. These were
the second and third performances of the tour and neither was as good as the edgy opener
in Hanover, West Germany. I think there’s an idea called “home” somewhere but it’s exact
location has managed to escape me...
- Uncle Willie's highly opinionated Guide To The Residents
All the leading European bootleg industry companies hunted them recordings, all but one
failed and "the winner" just got the shabby & cutted second night tape...later on their
INCOMPLETE vinyl release "Smack! Records 2301"...
sadly "the sound quality is raging from quite listenable to very poor" - our fellow DIMEr
hamp_dk wrote in his upload on October 17, 2008 (deleted Febr. 12, 2009, after 117 days):
Sound quality: Variable, not a quality pressing and some small scratches and
crackle are audible. Worth a listen, specially because this is one of the shows
were Penn Jilette talks in Esperanto.
THIS SENSATIONAL & OUTSTANDING UPLOAD HERE
GOES TO OUR DEAR FRIENDS hamp_dk AND jschmoe...
AND HAS ABSOLUTELY NOTHING TO DO WITH THIS VINYL SHIT...
THANKS FOR ALL YOUR STUNNING RESIDENTS & SNAKEFINGER
UPLOADS, SO FAR - THIS IS JUST A SMALL PAYBACK !
SO HERE IS THE FIRST DIGITAL TRANSFER FROM OUR OLD 1st GENERATION TAPE, THE
COMPLETE CONCERT WITH ALL THE INFORMATIONS AVAILABLE AFTER MORE THAN 27 YEARS !
No further story to tell, except it was another trade with "RG"
(famous for, inter alia, his Jimi Hendrix recordings...) and
his great group of nice and truly friendy maniacs...read more
about the "New Advanced Vienna Taper Section" here:
EIRE APPARENT - January 22, 1969 - Grosser Saal, Konzerthaus, Vienna, Austria
http://www.dimeadozen.org/torrents-details.php?id=295084
Had to swear them Vienna guys TO SHARE THIS ONE "NEVER EVER IN MY LIFE",
especially NOT with them fucking bootleg-industry, back then...and as i
am a very reliable person, i truly NEVER DID - so far. My son stumbled
over the tape in the archive, the taper had passed away, his surviving
friends playing golf now -> AND 27 years seems finally time enough...
WITH A BIG THANKS TO ROLAND ! cu sooner or later...
- Leo Lonetaper
NOT TO FORGET http://www.ralphamerica.com
announcement:
As of August 15, Ralph America will be closing due to the general state
of the music business and the expanding cost of creating physical products.
It's been a great ride. Thanks for all your support over the past 11 years.
This is also FOR YOU, Lorrie and Dren !
NEEDLESS TO SAY THIS ONE HERE IS...(i say this ALL THE TIME)...A MUST HAVE !
CHECK THE SAMPLES !
FOR THE FIRST TIME OUT OF OUR ARCHIVE,
IN THIS QUALITY AND SHEER VAST SIZE
COMPLETELY UNTRADED - PLEASE ENJOY!
And don't forget:
CRANK UP YOUR STEREO & START GRINNING !
=============================
the RESIDENTS (the artists)
feat. Penn Jillette (the narrator...etc...)
Ausstellungsgebäude der Wiener Secession
Hauptraum der Secession (the room, the venue)
Vienna (the city)
Austria (the country)
May 25, 1983 (the date)
Vienna (German: Wien; Austro-Bavarian: Wean) is the capital of the Republic
of Austria and one of the nine states of Austria. Vienna is Austria's primary
city, with a population of about 1.7 million (2.3 million within the metropolitan
area, more than 25% of Austria's population), and is by far the largest city in
Austria, as well as its cultural, economic, and political centre. It is the 10th
largest city by population in the European Union. Vienna is host to many major
international organizations such as the United Nations and OPEC. Vienna lies in
the east of Austria and is close to the Czech Republic, Slovakia and Hungary.
Ausstellungshaus für zeitgenössische Kunst (Exhibition Hall for Contemporary Art)
Vereinigung bildender KünstlerInnen Wiener Secession
Friedrichstraße 12, A-1010 Wien
http://www.secession.at/
http://en.wikipedia.org/wiki/Vienna_Secession
http://de.wikipedia.org/wiki/Wiener_Secessionsgeb%C3%A4ude
as far as we know NONE of this torrent was used commercially...
the complete tape we got, back then:
========================
All songs written by the Residents unless otherwise specified...
THE MOLE SHOW (USA, Europe 1982-1983)
Andy Corrigan - tour manager
Dan Gillham - lights
Andy Corrigan - sound
01. Voices Of The Air (extented intro version) 5:11.33
02. -> The Secret Seed 2:53.71
03. applause -> Penn Jillette: Introduction 2:05.27
04. The Ultimate Disaster 5:31.22
-> a. God Of Darkness
-> b. Working Down Below
-> c. First Warning
-> d. Back To Normality?
-> e. Bang! The Sky Falls!
05. applause -> Penn Jillette: Narration #1 1:08.36
06. God Of Darkness 3:17.69
07. applause -> Penn Jillette: Narration #2 1:22.56
08. Migration 10:17.56
-> a. March To The Sea
-> b. The Observer
-> c. Hole Worker´s New Hymn -> applause -> intermission music %
Intermission
09. Smack Your Lips (Clap Your Teeth) 4:16.12
10. Penn Jillette: Narration #3 § 1:18.48
11. Another Land 4:31.52
-> a. Rumors
-> b. Arrival
-> c. Deployment
-> d. Saturation
12. Penn Jillette: Rant #1 "I Am Necessary!" 0:53.40
13. The WAR Machine A.K.A. The New Machine 8:15.44
-> a. Idea
-> b. Construction
-> c. Failure / Reconstruction
-> d. Success
14. Penn Jillette: Upset Narration -> Rant #2 -> Riot 0:55.24
15. Call Of The Wild 3:24.00
16. applause -> Final Confrontation 8:49.73
-> a. Driving The Moles Away
-> b. Don't Tread On Me
-> c. The Short War
-> d. Resolution?
17. Penn Jillette: Rant #3 (his final one...) 0:41.61
18. -> Resident Speech 2:31.53
19. Satisfaction 4:03.08
20. Happy Home -> applause -> final outro music % 4:14.58
total running time: 75:45.18 minutes
the notes:
§ -> TRUE OR TRULY FAKE ?? stage microphone problems from 01:03:78 to 01:06.42
% -> both the intermission & final outro music fade out...like on the original recording...
You can join this one also seamlessly, as there are no fades at the end
of track 08. and the beginning of 09. No live music was lost @ this cut ;-)
the musicians:
The Residents
with guests:
P. Jillette
T. Timony
P. Perkins
C. Lemaitre
S. McLennan
C. Van Raalte
K. French
E. Benskin
lineage:
recorded by RG (or one of his friends), audience to analog tape
the recording:
front row, near one of the speaker stacks...
unknown microphone > unknown portable Cassette-Recorder (without any NoiseReduction) > unknown cassette type
(i remember Aiwa microphones and Aiwa portable recorder...but as i'm old, my mind is fading...SORRY)
the snail mail trade (summer 1983...and please don't ask WHY this one is Fuji tape WITH Dolby C):
Cassette Master > Unknown Cassette Deck Transfer (NO HIGH SPEED DUBBING, 'DOLBY C' ON) > 1st gen. Cassette
(FUJI FR-II 90, chromdioxid type, 1-7/8ips High Bias Type II, EQ 70us, 135 meter tape)
the transfer:
My 1st. generation tape > > Nakamichi Cassette Deck 1 (manual playback head azimuth aligned ! 'DOLBY C' ON) >
> Analog Cable (coax) > Behringer SRC-2496 Ultramatch Pro
(Ultra-high-resolution 24-Bit/96 kHz A/D & D/A and Sample Rate Converter & Dropouts-/Jitter Remover) >
> converted to 16 bit, SP 44,1 kHz > > Oehlbach Hyper Profi Opto Set (optical fibre, TOS-Link) >
> Terratec Aureon 7.1 PCI - Dolby Digital Live Soundcard with C-Media CMI8768 Soundprocessor Chip, digital S/P-DIF in >
> Motherboard with AMD Multicore Processor, Serial ATA Interface > CD Wave (recording) >
> Harddisc Western Digital with Thermaltake HD Cooler (EVER had a HardDisc burnout ??) >
> lonetaper's secret box of miracles # > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME
# RAW FILES - so NO additional NoiseReduction or EQ'ing was used here,
and none of those compressors, Sonic Maximizers or other psychoacoustic
processors - just some of the instrumental plug-ins reduced, balanced
the stereo channels (just a touch) and finally normalized.
THERE IS SOME TAPE HISS AUDIBLE (not too distracting...) !
this upload here comes directly from the "Men With Microphones" archives.
if you want to know more about, check the old uploads...lotta stuff to read !
And if there's some interest, maybe there is MORE TO COME...
it just depends on YOUR demeanor, and lotta useful comments ;-)
The Mole Show: The start of the Live Era
In 1981, a trilogy of albums, starting with Mark of the Mole, was to be released. A tour
ensued, and was narrated nightly by Penn Jillette. Many think, after observation of official
clues in liner notes such as those found in Demons Dance Alone, that the Mole Show caused
several members of the Residents to leave, leaving Mr. Red Eye to studio duties. The Mole
Trilogy is made up of parts I, II and IV.
This tour is also noted for being the first time The Residents appeared on stage wearing their
trademark eyeball masks and tuxedos. The performance featured The Residents in front of painted
backdrops used to help illustrate the story. Penn Jillette would come out between songs telling
long intentionally pointless stories. The show was designed to appear to fall apart as it
progressed: Penn pretended to grow angrier with the crowd, and lighting effects and music
would become increasingly chaotic, all building up to the point where Penn was dragged off
stage and returned, handcuffed to a wheelchair, to deliver his last monologue. During one
performance, an audience member assaulted Penn while he was handcuffed to the wheelchair.
Mark of the Mole is an album by The Residents, released in 1981. It was meant to be the first
album in a trilogy detailing the conflicts between the Moles (a subterranean society whose gods
offer salvation through hard labor) and the Chubs (a vapid, hedonistic culture). An Atari 2600
game based on the album was planned, but cancelled.
After the Moles are forced to abandon their tunnels due to flooding, they enter the land of the
Chubs seeking work. At first they are welcomed with open arms because the Chubs despise hard labor.
Conflict arises when a Chub scientist invents a machine that can do the work instead, making the
Moles obsolete and a drag on Chub society. What follows is a brief war. The short instrumental
track "Resolution?" ends the album without giving a clear conclusion to the narrative; the liner
notes to the album The Big Bubble (billed as "Part Four of the Mole Trilogy") states that the war
ended with no clear winner, and the two ethnic groups live together in uneasy peace.
The work and its follow-up album, The Tunes of Two Cities, became the basis for the Residents'
first international tour, the Mole Show.
THE MOLE SHOW
The Mole Show is the stage version of The Mole Trilogy, a series of albums which tell the
story of two societies, the Moles and the Chubs, and the conflicts between them.
After ten years of making music The Residents decided to go on tour as a way of dealing with
anger, confusion, and frustration in the band. Between the sudden rejection of The Commercial
Album by the once-friendly New Wave press and internal problems in the group, they felt that
they needed something new with which to work off steam. They had never toured before because
their music depended so much on the studio and they feared that it would not translate well
to stage. However, the invention of EM-U's Emulator in 1981 was a big step forward in music
creation. The Emulator was the first affordable sampler, and it allowed musicians to take all
those sounds which can't be produced by conventional instruments and play them back with great
precision and control. They were so impressed that, ever the technophiles, they ordered one
immediately. Their first one was Emulator #0005. The band used it extensively on the second
Mole Trilogy album, The Tunes of Two Cities, and started experimenting with using it to perform
music from The Mark of the Mole live in their studio.
When The Residents decided that they wanted to tour, they knew that they didn't want to do the
standard "rock concert" kind of show. They wanted something more theatrical, and considered
reviving the Eskimo opera idea which they had been playing with. That project didn't provide
the impending-doom mood the band was seeking, so they decided to go with the Mole stuff they
were working on at the time.
The Mole Trilogy was inspired by various stories of the Great Depression, such as John Steinbeck's
The Grapes of Wrath. The first album, The Mark of the Mole, tells of how the primitive but
hard-working Moles were driven from their homes and forced to live with the sophisticated and
superficial Chubs, who used them as cheap, lower-class labour until the friction between the
groups exploded into war. The second part, The Tunes of Two Cities, doesn't tell a story, but
rather juxtaposes music from the two cultures. These two albums were to become the material for
the new show: Mark gave the show a story, and Tunes provided linking music between scenes.
The successes which they had been having with sales meant that their Cryptic Corporation was
relatively well off. With the capital from the company and the expectation that the tour would
pay for itself, the group went all out with the production. The set consisted of huge 21' x 18'
backdrops flanking a burlap scrim, behind which the band played. Chubs and Moles were represented
by cut-outs which were manipulated by stage hands in Groucho Marx glasses. The dancers, also in
Groucho glasses, would act out the story in front of all this. The band hired their friend,
Penn Jillette, to come on the tour as narrator, to help get the audience through the story and
to give them someone to whom they could relate.
With a second Emulator and help from EM-U (who were so taken with the band's enthusiasm that they
named their R&D room after them), The Residents started putting a show together. They hired Kathleen
French to do the choreography and Dan Gillham to design the lighting. Gillham illuminated the stage
from below and behind and used only one spotlight, trained on Penn, who would come on between numbers
to explain what was happening as a sort of Greek Chorus.
The first performance was a warm-up at The House in Santa Monica on April 10th, 1982, in front of
an audience of sixty. It was a music-only performance - no dancers, narrator, or sets - to make
sure that the Emulators were up to the task. The official opening was on October 26th at the Kabuki
Theatre in San Francisco. The band had two sold-out shows there, then moved on for four shows in
Los Angeles and one in Pasadena.
The shows were well received, though the audiences didn't always know what to make of them. Everyone
on stage wore Groucho Marx glasses - except Penn Jillette, who would take pot-shots at the show
during his narration, poking fun at the primitive special effects and the strange story. Towards
the end of the show he would (apparently) lose his temper, yelling at the performers and storming
off stage. After a brief pause, Penn would be brought back on stage gagged, tied to a wheelchair,
and wearing Groucho glasses.
In spite of its confusing nature, The Mole Show was a success. The only technical problem which
cropped up was overheating in the Emulator disc drives due to the eighty-five disc changes necessary
in the show, but this was minor. Confident after the successful shows in California and reassured
by their new business manager Bill Gerber (who also worked with DEVO), The Residents were set to
take the show to Europe, and that's when the real problems started.
In July, Jay Clem (the The Cryptic Corporation's business manager) left the company. He was apparently
dissatisfied with the independent music business and went on to establish his own management company.
Then, after the Kabuki Theatre shows, the president of the Cryptic Corp., John Kennedy, announced
that he, too, was leaving. He was tired of pumping money into the group without it going anywhere
and the expense of staging the Mole Show was the last straw. To make things worse, he took The
Residents' building, 444 Grove St., with him. The entire production ground to a halt, and it was
only with the help of friends and family that things could be restarted.
Then there was the crossing to Europe. The sets were so huge that only a 747 container jet could
carry them across the Atlantic, a huge expense. Then, with about twenty people to lodge and feed
as they travelled, costs started climbing (they even reduced the number of dancers from four to
three to try to cut costs). In order to raise funds ahead of time, the band had sold the merchandising
rights. At the shows, the stuff sold amazingly well, making far more money than The Residents
ever got. This poor decision cut deeply into the show's ability to pay for itself.
The performances themselves went very well, selling out all over Europe. The Mole Show was a
critical success, but the touring itself was incredibly stressful. The English road crew the band
had hired was rather surly throughout the tour because The Residents didn't supply them with any
of the sex & drugs they were used to getting on rock-n-roll tours. Furthermore, they didn't like
having to wear the Groucho glasses, and they didn't get along at all with Penn, who is very strongly
anti-smoking, anti-drink, and anti-drugs. In the end, the group had to segregate the busses, with
the roadies in the Party Bus and Penn in the other (the Library Bus). There were also the usual
accidents and thefts one suffers when touring, but the band had't allowed for these, and had no
leeway in their plans to cope with them. Other problems included Penn being hospitalised just
before a show in Spain with some sort of stomach problem (the group had to get their stage manager
to cover the narration) and Penn's being attacked on stage by an irate member of the audience
while he was tied to the wheelchair.
All in all, the tour was a nightmare. After the last show at Leicester Polytechnic, on July 1st, 1983,
the band vowed never to tour again. They had lost so much money that Ralph Records was in danger of
going under and the band was rescued at the last minute only by an invitation to perform one final
Mole Show as the opening show of the November New Music America Festival in Washington D.C. At first
they refused, but they couldn't afford to pass up the money offered.
Unfortunately, the nightmare wasn't over yet. Their tour manager had failed to pay the English
shipping agent, who was holding all of their sets and instruments in England until they could pay
$16,000 for their return. The band convinced the shipper to take $10,000 up front and the balance
after the Festival, but even when they paid that cash to the shipper, he kept holding out for the
balance without sending the gear. The Residents ended up arriving in Washington without anything
and had to rebuild all of the backdrops and sets from scratch. They hired dancers from a local
ballet school, begged an Emulator from EM-U, and had to convince their manager to do the narration
because Penn couldn't make it - all in the last two weeks before the show. They rehearsed at the
local YMCA and the dress rehearsal went so badly that they couldn't complete it. Finally, to add
insult to injury, the missing equipment showed up from England just hours before showtime after
Bill Gerber had threatened to sue the shipper.
In spite of every indication that it would be as big a disaster as the tour had been, however,
the Uncle Sam Mole Show was a spectacular show, possibly the best performance of the entire tour.
After the tour, The Residents left the Moles behind for a while. The project had been started to
deal with frustrations the band had been feeling, and it ended up being far more frustrating than
the original problems. The whole project had been an amazing critical success - the Mole Show's
costumes and sets became part of the permanent collection at the Los Angeles Museum of Contemporary
Art after the tour - but financially The Residents were nearly ruined. They eventually returned to
the project after a couple of years with the fourth part of the Trilogy, announcing that there were
now to be six parts in total - the odd ones telling the story, and the even ones exploring the
music, of the two cultures, but they never completed the set.
THE MOLE SHOW DIARY
UNCLE WILLIE'S HIGHLY OPINIONATED GUIDE TO THE RESIDENTS
The Residents did not feel that their electronic techniques would translate well into live
performance, so ten years elapsed before they would nervously attempt to bring their music
and video ideas to a stage.
The times were not good for the group. As a result of personal complications, their world became
embroiled in anger, confusion and frustration. In a bold experiment, they decided to deal with
their feelings by taking that "anger, confusion and frustration" on the road. The Mole Show was
conceived to tell a fable about a culture that is forced to co-exist with a different culture,
and, naturally, the inevitable "anger, confusion, and frustration" inherent to the situation.
But, The Residents knew that just telling an audience about this would never do. They scripted
the show so that a major character would "rebel" against the performance. In an illusion of
"breaking the proscenium," he would express his "anger, confusion and frustration" over his role
in the show thereby bringing the whole performance to an awkward and disturbing end. The audience
would leave confused as to what was real and what was not.
The Residents were successful. Audiences left the theaters in Europe and the USA feeling just as
The Residents expected, "angry, confused and frustrated." While perhaps an artistic thing to do, the
wisdom of such a move is still pondered late at night in The Residents’ studio over glasses of wine.
- Uncle Willie
PLEASE support the artists, visit all their concert & live performances -
and buy all their available stuff...
Check out their websites on the net - THERE'S PLENTY TO FIND !
Please, if you choose to download this, go and support the band at
http://www.ralphamerica.com
or
http://theresidents.downloadcentric.net/app
they are in need of the proof that we still want official product,
and that we are still ready to pay the buck/euro/whatever for it!
So go and buy while you can, before the outlet dies.
( written by hamp_dk, shamelessly stolen here:
http://www.dimeadozen.org/torrents-details.php?id=313026 )
====================================================================================
MY DAD USUALLY SAYS: A GOOD BREEDING SEEMS HARD TO FIND IN CYBERWORLD, NOWADAYS !
please be friendly & polite to me, and i'll be the same to you...twice-pledged !
BUT IF YOU'LL TAKE ME FOR A RIDE, I'LL COME TO YOUR HOME AND THE FUN IS OVER...DEFINITELY !
AND I'M ALWAYS ACCOMPANIED BY MY FRIENDS & BROTHERS - FRANCONIA'S TOUGHEST BIKERGANG
"DARK BECKSTEIN SKULLS" - A SUBDIVISION OF THE AWESOMELY "CROSSED BONES" FROM SOLINGEN.
R.I.P. DENNIS LEE HOPPER - ride on, dear brother, you've always been our hero...
Dime allows alternative versions, I don't own the music, so I can't stop you, but
the correct thing to do amongst tapers/editors is TO ASK FIRST...(C. by scdegraaf)
I SIMPLY CAN'T TAKE A JOKE - CONCERNING BAD MANNERS AND UNGRATEFULNESS ! pythonmonty.
====================================================================================
open traded, carefully stored for >27 years, and mastered by my dad Leo (all thanks go to him...),
transferred, & finally first time uploaded by pythonmonty on DIME, July 24, 2010. This is "MWM 00200"
please consign this info-sheet with the shared music - thanks !