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****Recorded by Gene Poole and posted by elegymart on :: EzTorrent v0.7.0r484 ****


Friday, 30 April 1982 8:00PM

Capital Centre
1 Harry S. Truman Drive
Landover, Maryland 20774

FLAC master, 19 August 2020, by elegymart:
Analog audience recording (stereo) {recorded by Gene Poole and friends}: unknown mics/recorder > two 1980-82 US Maxell UDXLII C90 (Type II CrO2) analog audio master cassettes {from the Gene Poole collection} > Sony TC-WE435 (azimuth adjustment) > Roland R05 (24/96) > Cool Edit Pro 2.0 (audio cleanup, convert to 16/44) > SHNtool (fixed SBE) > CD Wave (track splits) > TLH (WAV > FLAC8).
Created this text file.

Total running time [1:50:30]
01 Jus' Can't Stop Me [3:22]
02 Just Can't Wait [3:18]
03 Come Back [4:43]
04 Till the Walls Come Tumblin' Down [3:42] >
05 Sanctuary [3:45] >
06 Night Time [5:47]
07 Freeze-Frame [4:42]
08 Piss on the Wall [4:41] >
09 Hard Drivin' Man [3:53]
10 River Blindness [6:33]
11 Teresa [4:02]
12 Detroit Breakdown [6:14]
13 Must of Got Lost [10:59] >
14 Love Stinks [3:06] >
15 Looking for a Love [3:54]
16 Whammer Jammer [3:07] >
17 (Ain't Nothin' But a) House Party [5:49]
-- encore --
18 Where Did Our Love Go [4:11]
19 the amazing chair feat [3:52] >
20 I Do [3:00]
21 Centerfold [4:06]
22 First I Look at the Purse [13:34]

Band line-up:
Peter Wolf - lead vocals
J. Geils - guitar
Magic Dick - harmonica, saxophone
Seth Justman - keyboards, Hammond organ, backing vocals
Danny Klein - bass
Stephen Bladd - drums



Here's the latest installment of the Gene Poole Collection, a random wellspring of recordings which have recently surfaced. To paraphrase Lou: This is gonna go on for a while, so we should get used to each other, settle back, pull up your cushions, whatever else you have with you that makes life bearable in what has already been the start of trying decade...

Some of Gene's handiwork has probably been heard by your very ears before, for the most part via the Stonecutter Archives, but this is the first major unearthing of tapes direct from the legend himself. As promising as that may seem, it's best to let the surprises hit as they are shared. The trade-off to the prolific taping on Gene's part is that the expectations for a perfect track record would be unrealistic and unfair. There will be instances of incomplete recordings, caused by late arrivals to gigs, recorder and mic malfunctions, and other assorted foibles as would befall any mortal taper. There will be times where a master from another source exists which could be superior. For the most part, Gene recorded with a variety of mics and recorders, and many shows suffered from wire dropouts, so that only one channel was extant in the capture. Due warning about the past imperfect given and out of the way, credit should be given where due as well -- for many shows thought lost forever, it's exciting to discover that many of these even in incomplete form have now cropped up.

The transfers, the audio fixes, and the research all have required some lead time -- many tapes had scant info (sometimes just the name of the artist/band, with no date listed for the performance). Needless to say, gear documentation is virtually nil -- if we wait around for that precise detail to be forthcoming, nothing from the collection would probably see the light of day.

... As of the writing in the prior volume, there was one full show of the J. Geils Band in circulation from this leg of their headlining U.S. Freeze-Frame tour from the Summit in Houston. The other two sets both from TGPC (from Madison Square Garden and the Hampton Coliseum, in Vols. 112 & 173 respectively) are incomplete recordings. The band would head over to Europe for most of June and July before continuing with a second leg of their U.S. tour with the Motels and much later Berlin Airlift as support.

Gene has no recall of these shows but maybe it's because the Freeze-Frame fever was still running rampant and hit such a pitch it zonked out his memory. Exhibit B here shows Gene was still hoping to capture that elusive complete show. And so now we bring you to this night at the Capital Centre in most of its glory. It doesn't have the rich depth of the MSG set, but it's a helluva lot better than the night before in Hampton. It's a strong contender -- just boost the bass up on your EQ playback and you'll be golden, nothing that necessitates an irreversible remaster. Flaws aren't many: some tape dropouts here and there, the occasional mic rumbling like on "Whammer Jammer," a tape flip at the beginning of "Hard Drivin' Man" and "(Ain't Nothin' But a) House Party" cuts in -- none of it should really detract from your overall pleasure.

So let's continue on with the Spring of 1982, back when you could go to the cinema and have your pick of seeing "Death Wish II" and "Penitentiary II", or "On Golden Pond" and "Atlantic City," or "Porky's" and National Lampoon's "Movie Madness."

Thanks again to gv0000 and john234 for their research assistance on these.


Premium Member
1,964 Posts
One of the great bands of the 70s and early 80s.
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