Jeff Beck
1-25-2009 Thebarton Theatre Adelaide
intro
Beck's Bolero
The Pump
Eternity's Breath >You Never Know
Cause We've Ended As Lovers
Behind The Veil
Blast From The East
Stratus
Angels (Footsteps)
Drum solo > Led Boots
Nadia
Bass solo > Snake Oil
Goodbye Pork Pie Hat > Brush With The Blues
Big Block
Blue Wind
A Day In The Life
Encore 1 :
Scottish One
Encore two :
Where Were You

Stealth mode room centre about 8 metres back.
Zoom H2. Core sound Binuarals ( mid range ) core sound battery box- (flat) > Soundtrack Pro (multipressor and adjust applause levels)
remixed using Adobe Audition 2013
Recorded ,mixed and remixed by Godzgolfball
Support act was Josh Bennett

local rag review
TAKE a crystal glass ringing, a drag car screaming, a logging saw shredding, a power line howling, a steam whistle blowing...
These are the shapeshifting live sounds Jeff Beck can conjure from a single guitar.
The 64-year-old Grammy Award-winning Englishman has held nothing back in a professional career that started in 1965 when he replaced Eric Clapton as The Yardbirds' lead guitarist.
Gathering strength and recognition, he went on to form the Jeff Beck Group's multiple incarnations until his solo career – sans singers (previously the Stones' Ron Wood and soon to be The Faces singer Rod Stewart were in Beck's line-ups).
Now he powers on as a timeless rock ringmaster, dressed in long leather boots, leather pants, white T-shirt, black vest and a white scarf tied around his neck. And, sonically, he's extending the awe he created on such albums as Blow by Blow and Wired, the instrumental jazz fusion records that pushed his guitar work beyond boundaries usually propped-up and enhanced by copious technical equipment.
On stage at the Thebby, his simple, miked Fender speaker stack and two Marshall stacks propelled all his astounding bare fingerwork from an understated cream Fender stratocaster.
Variously using a slide, tone-knob controls, volume shifts and constant tweaking of a whammy bar, Beck sounds like two guitarists in unison.
"Finding ways to use the same guitar people have been using for 50 years to make sounds that no one has heard before is truly what gets me off," he has said. "I love it when people hear my music but can't figure out what instrument I'm playing.
"I don't care about the rules. In fact, if I don't break the rules at least 10 times in every song, then I'm not doing my job."
And his seated boomer audience patiently sweltered on the floor of the tight-packed theatre as he obliterated those rules, many of his compositions framed as masterful jam sessions with lightning-speed fretwork.
He is given to dashing his left hand with talcum powder to bring the fretboard up to speed.
Beck's current style is one of an aural blender, his ear ever sharp in consuming and analysing the work of his backing bassist, drummer and keyboardist, and occasionally signalling to individual players for a particular flourish.
And his respect for the guitar is exemplified in refrains where he waits for the note's last discernible sustain to subside before acknowledging his adoring fans with a bow of the head.
During one rapturous response, he deflected the crowd's praise with a wave of the thumb over his shoulder to the band.
Aussie-born New York-raised bassist Tal Wilkenfeld, 22, was a gem as she smiled her way through snapping jazz rock solos, weaving through drummer Vinnie Colaiuta's percussion.
With signpost hints of all kinds of greats, from Stevie Ray Vaughan, Buddy Guy, John Lee Hooker and Dick Dale to French violinist Stephane Grappelli, Beck somehow traverses their oeuvres.
His speed and accuracy seem like tricks to the eye but the ear knows better.
And if this performance was typical of his seven other Australian tour shows, the nation is in for a rare display of technical proficiency and even rarer – the cleanest stage sound in years.
An hour and three quarters of instrumental music has never been so magnetic.
- Jeff Beck, 
Thebarton Theatre, Sunday