TM notes that security was EXTREMELY tight. "cuts at the end of songs and having to flip the tape in the men's room due to the strict anti-taping policy at the venue". As a fellow taper, there is nothing worse than trying to enjoy and record a show when you have suspicious security people staring at you all night long. It's a bit easier with the digital recorders because you can set the deck and let it go for the entire show, whereas analog you have to keep fiddling with the deck and feed it new tape as the concert progresses.

I remember hearing about one story about a King Crimson concert where they actually turned up the house lights 45 minutes into the show looking for tape-flippers. A concert recorder's work can be very stressful, but nailing a great concert and enjoying it for many years to come is what its all about. And, I'll tell ya, with the ever-soaring ticket prices to see most today's performers well passed their prime, taking a recorder into a show seems like a nice trade-off to offset the record tickert prices by taking home a memory for many years to come (especially if you share it with fellow music-lovers).

The TM - BP Ice Man Master Series Volume 15
Albert Collins and the Icebreakers
April 8, 1988 (1988-04-08)
The Coach House
San Juan Capistrano, California

01) [11:38] After Hours > Albert intro >
02) [07:41] Listen Here
03) [05:02] The Moon is Full
04) [06:34] The Lights Are On But Nobody's Home // cut
05) [07:12] Black Cat Bone
06) [06:05] Honey Hush
07) [07:12] Stormy Monday
08) [10:37] I'm a Tired Man (with Dan Smith guitar)
09) [10:57] I Got That Feeling
10) [04:30] Frosty // cut

Total [1:17:28]

Albert Collins: Guitar, vocals
Leon Blue: Piano
Soko Richardson: Drums
Johnny B. Gayden: Bass
Coco Montoya: Guitar
Sam Franklin: Tenor sax
Chuck Williams: Alto sax

Lineage: Nak CM300 & Nak 100 w/ CPI > Sony D6

Transfer: Master cassette > Yamaha KX393 > Tascam CDRW700 (on 2001-08-06) > EAC > CDR > EAC > Flac (8)