Aretha Franklin
Baltimore, MD
July 15, 1994

Excellent digital soundboard recording (from DAT master)

Another stellar recording from "The RS Arvhives"
(a Mexminute/TheCommish production)

** mp3 samples provided (as always) in the Comments section **

01. Announcements
02. Instrumental intro
03. I Knew You Were Waiting
04. Share Your Love With Me
05. Spanish Harlem
06. Angel
07. Chain Of Fools
08. Respect

(Tracks 09-11 are "Optional" tracks--burn them or skip them)
09. Introducing her son's act
10. Her son's rap act
11. Commenting on her son's act

12. Band intro and banter
13. You Send Me
14. A Deeper Love
15. Willing To Forgive
16. Freeway Of Love
17. The Greatest Love Of All

TheCommish notes:
As noted above, I consider Tracks 09-11 to be "optional" tracks. To put it politely, I think her son's act doesn't exactly blend well with the rest of the show--so I decided to skip these optional tracks when I burned the show to CD. But since your mileage may vary, they're here if you want them. Please also note that there is a cut at the 2:34 mark in Track 10.

DAT master > Sony PCM-R500 (playback) > HHB CDR-850 (burning) > CDR, then
CDR > EAC > WAV > Editing (see below) > FLAC Frontend > FLAC

Editing notes:
* Re-tracked show (combined WAV files in Nero, then re-split with CD Wave)
* Volume adjustments made with Nero's wave editor (see details below)
* Deleted 17 seconds at end of Track 01 and faded out with Nero
* Slight fade-out applied to end of Track 10
* Slight fade-in applied to beginning of Track 11
* Deleted 56 seconds of extra applause at end of Track 17; faded out with Nero

Volume adjustments made:
(to adjust for the various volume fluctuations during the show)
Track 01: +13db (0:00-0:02), +9db (0:02-0:05), +4dB (0:05-end)
Track 02: +7dB (0:00-0:04), +3dB (0:04-0:08), +7dB (0:08-end)
Track 03: +7dB
Track 04: +7dB
Track 05: +7dB (0:00-3:06), +6dB (3:06-3:42), +7dB (3:42-end)
Track 06: +9dB (0:00-3:07), +8dB (3:07-3:24), +9dB (3:24-4:59), +7dB (4:59-end)
Track 07: +7dB (0:00-0:20), +6dB (0:20-2:47), +5dB (2:47-3:01), +6dB (3:01-end)
Track 08: +6dB
Track 09: +6dB (0:00-1:10), +12dB (1:10-end)
Track 10: +12dB (0:00-0:04), +14dB (0:04-0:18), +8dB (0:18-2:48), +14dB (2:48-end)
Track 11: +24dB
Track 12: +17dB (0:00-2:13), +14dB (2:13-2:29), +11dB (2:29-3:02), +4dB (3:02-end)
Track 13: +7dB (0:00-0:41), +4dB (0:41-0:43), +7dB (0:43-0:49), +4dB (0:49-end)
Track 14: +4dB
Track 15: +4dB
Track 16: +4dB (0:00-1:08), +3dB (1:08-3:57), +4dB (3:57-end)
Track 17: +4dB (0:00-0:02), +6dB (0:02-3:56), +7dB (3:56-end)

About "The RS Archives":
The RS Archive consists of a selection of live recordings made by a great individual who passed away in 2005.

RS worked in the music industry in many capacities….a music fan….a musician….a sound engineer. He was considered one of the best behind the mixing board. I was honored to have known him for practically 35 years. There was no one like him….he was a wonderful human being. Everybody loved him. He was a level-headed guy who knew what sounded good and what didn't. He could conceive and design sound systems from scratch in his head to meet the artist’s needs. Whatever they wanted, he could do.

For years, he mixed music at the annual Grammy Awards and the American Music Awards television show. RS worked closely for years with Daryl Hall and John Oates, Juice Newton, Anita Baker, Mariah Carey, Tears for Fears, Crack the Sky, Kid Creole and the Coconuts, Aretha Franklin, Pink Floyd, Whitney Houston, Bette Midler, Ann Murray, Michael Bolton, Kenny G, Tony Bennett, Johnny Cash, Eric Clapton, John Fogerty, Bonnie Raitt, Frank Sinatra, John Hiatt, Little Feat, Little Village, and Waylon Jennings… name a few.

He had a huge reputation in the business, and that's why he was chosen to work with such budding clients as Mariah Carey. With the major stars, he was one of the preferred engineers they choose to work with. A particular client of RS who had a reputation for firing sound engineers with great regularity was Anita Baker, whom he won over not only with his technical abilities and personality, but with his refusal to put up with her criticism. He quit a few times but always came back because she loved the way he mixed her music. He could coddle difficult and temperamental celebrities, and they respected his work. He was able to kick back and get along with them. Even though he knew these people, he was a very modest man.

So now, it is time to honor him by sharing some of the many recordings he made while on the road. All are perfect (or near perfect) soundboard recordings made from the master cassettes or master dat tapes. Unfortunately, I am not able to identify the original equipment these tapes were made on, however I can say that for the transferring process, the cassette tapes were played back on a Nakamichi CR-7A, and the dat tapes on a Sony PCM-R500. They were all burnt onto cdr using a HHB CDR-850.

Please enjoy these tasty gems!
Mexminute (fellow DIME member).

If you decide to download this show, won't you please consider posting a comment on the show's board? It only takes a moment, and believe me, it takes A LOT longer to prepare/upload a show for others to enjoy than it does to download and run.

And won't you please consider thanking Mexminute for sharing this mighty fine show with us?

Generously shared by Mexminute
and uploaded on DIME by TheCommish
December 2008