SVT + Enemy @ San Francisco, CA 1980-01-26

 SVT:  https://drive.google.com/drive/folders/1Xfvf-hN5Y5YsJezuYiF5wDzSjeOY-14v?usp=sharing
ENEMY:  https://drive.google.com/drive/folders/1Gf2myCxbYM7nhBlrNCMqVg2klsvNgWxu?usp=sharing

SVT
Mabuhay Gardens
San Francisco, CA
1980-01-26 (Saturday)

THTP Release 49

Recording chain:
Stage mics > splitter (split to house snake/SBD and TH snake) > TH dedicated snake >
Peavy MkII 12 channel mixing board (11 channels snake, 1 channel audience mic) >
AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape

Archival Process:
1999: Sony TC-KA3ES > TDK SA-90 tapes playback (NO Dolby) > BBE 462 Sonic Maximizer (to clean up tapes) >
Tascam DA-30 DAT > HHb DAT-125 DAT tape
2002: HHb CDR-850 Professional CD Recorder (In real time) > HHb CDR74 Gold 100 year archival grade CDRs
2005: Transfered to HDD in AIFF file format

Dime release processing: AIFF Master Files > FFMPEG > 16 bit FLAC 8 > tagging, cover artwork, checksums.

Recorded, preserved, and master AIFF files provided by: Terry Hammer

Setlist:
01. Dirk intro >
02. No Regrets
03. I Can See
04. I Walk The Line
05. C'Mon Everybody
06. Price Of Sex
07. The Last Word
08. Heart Of Stone
09. Modern Living
10. Talkin' 'Bout Girls
11. Rock Reich
12. You Don't Rock Me
13. I Wanna See You Cry
14. I Can't Feel Any Pain
15. Sex Attraction > Dirk encore
Encore:
16. Is That What You Want? > Dirk outro

Length: 57:43

Band:
Jack Casady - bass
Brian Marnell - guitar, vocals
Nick Buck - keyboards, vocals
Paul Zahl - drums, vocals

Notes:
* Nick Buck had also been in Hot Tuna previously.
* RIP Brian Marnell (1983).
* This recording suffers from relatively low levels on Jack Cassidy's bass. My personal theory is that Jack, fresh off of heavy touring with Hot Tuna, in what he and Jorma came to call 'their metal years', when they were listed as one of the loudest touring bands in the world, is using at least part of his bass stacks from Tuna, and those simply overwhelmed everything in the club, including Terry's headphones, making it almost impossible to actually set the levels by ear. The bass is in the tracks, it's just much lower relative to the band than it would have been live.
* About band: https://en.wikipedia.org/wiki/SVT_(band)
"The group is said to have taken its name from the medical condition known as supraventricular tachycardia. A more plausible explanation is that the name was taken from a model of bass guitar amplifier, the Ampeg Super Vacuum Tube.
...
They were one of the first bands ever to record on San Francisco's 415 Records, who released their single, Heart of Stone, in 1979". It doesn't take a rocket scientist to figure out why Howie Klein jumped on the chance to release anything that Jack was involved in, especially if it was also hard rocking like SVT was.
* More on group: http://www.bay-area-bands.com/bab00022.htm
"San Francisco based outfit fronted by ex- Jefferson Airplane/Hot Tuna bassist Jack Casady. Casady brought with him Nick Buck from Hot Tuna and added Brian Marnell and Bill Gibson from Airplay (ex Sound Hole). The band was formed early in 1978 as Jack Casady Band but evolved rapidly into SVT.
While the band became live favourites in the Bay Area they never managed to crack into the big money markets. Apart from their EP & LP, SVT had two 45s on 415 Records and a cut on the Ambition Records compilation "Declaration of Independence" (AMB 1) in 1980. Their debut single "Heart of Stone", became a hit on local FM station KSAN.
Bill Gibson, who had been a founding member of SVT, did not play on any of SVT's albums - only on the singles. Although, he is playing drums and singing backing vocals on two tracks that were added to the re-released and extended "No Regrets" album (see discography). Bill left SVT in 1979 to form what was to become Huey Lewis and the News. He was replaced by local drummer Paul Zahl."
* I find it amazing that Jack Casady could jump from the Airplane to Hot Tuna to SVT without skipping a beat, this guy is in my opinion maybe one of the best players of all time, but he loved to rock, and had no trouble at all jumping into the exploding punk scene of the late 70's to check it out. I saw SVT at one of the last Winterland shows, they played with the Tubes opening, and the Ramones headlining.
In 'Modern Living' they easily match any so called 'real' punk band.
* 415 Records was Howie Klein's record label, and very influential in the early SF punk scene. Many of the groups you have heard so far, and many that are coming, released at least a single on 415 Records.
* More about 415 Recoreds: https://en.wikipedia.org/wiki/415_Records
"Its name, pronounced four-one-five (not four-fifteen), was a play on both the telephone area code for the San Francisco area and the California penal code section for disturbing the peace (indeed, in some promotional material, the phrase "disturbing the peace" was written underneath the 415 logo). The label had a productive partnership with Columbia Records from 1981 until shortly before it was sold in 1989 to Sandy Pearlman, who retitled the label Popular Metaphysics.".
* "Everybody like the earthquake? Going to have another one in a minute here..."
* The earthquake was the January 24 (two days before), 1980 Livermore earthquake:
http://www.johnmartin.com/earthquakes/eqpapers/00000044.htm
"At 11:00 a.m. PST on Thursday, January 24, 1980, an earthquake of Richter Magnitude 5.5 (M 5.5) shook the San Francisco Bay area. The epicenter of the quake was located approximately 12 kilometers southeast of Mount Diablo, in the sparsely-populated hills north of Livermore Valley. According to Bolt and others (1980), the M 5.5 earthquake was followed within two minutes by after-shocks of M 5.2 and M 4.2.". Now you know. Earthquakes of any meaningful magnitude are always very exciting events in the Bay Area, so they would have been talked about, as they were here.
* Dirk makes an announcement about a benefit for a benefit for the 1980 NORML marijuana initiative. Only took some 40 more years to get there...
* Dirk: "Now it's time for all good scummies to go home. Resist the temptation of throwing yourselves into the trashcans... there's not enough of them for all of you..."
* Includes photos.

===========================================================

No distribution in lossy formats!!
No selling!!
No bootlegging!!
No remastering!!
Yes sharing. Definitely share.

Support the artists when or if they play, and buy their records/merchandise.

Please correct any errors or oversights in this information in the comments section so the information can be as accurate as possible.

If you can find related materials like flyers, posters, ticket stubs, even photos, etc, please add them in a comment and I will add them to the main release folder, so that can be included on the next re-seeding. Every bit is welcome, and as I am time constrained on this project due to the amount of material, I cannot spend as much time on each release doing research as I would like, so if we can add to and improve the information and release contents during this series, that would be great.

Please make an effort to pick at least one of these THTP releases and keep it seeded for as long as you can, particularly the lesser known groups. That will really help out long term.

===========================================================
About Terry Hammer and the THTP:

Someone put my feelings very well about these recordings in the following quote. I can't really improve on their words beyond noting that these recordings sound absolutely and utterly stunning, and I consider myself incredibly lucky to be able to present these to you here in their original, first generation, lossless hi-fidelity versions, for the first time ever.

"[These recordings were] recorded and preserved by collector/engineer Terry Hammer, for broadcast over the UC Berkeley station KALX and several others from the 1979 -1981 period. Anyone who spent a night at one of these clubs knows how chaotic the atmosphere was. That he was able to, not only get a decent feed from the sound mixing board, but was also able to get clean recordings was something of a miracle. And the fact this guy did it over and over again is pure dedication to the cause of preserving history for decades to come. Fortunately for everyone, he’s been making these gems of history available and their value as historic documents is inestimable. This is really exciting stuff and I am grateful for Terry’s foresight and deft skill."
src: https://pastdaily.com/2014/06/25/gang-four-live-american-indian-center-san-francisco-1980-nights-roundtable-concert-edition/

As Terry notes about the process of recording these shows: "Like all of my live recordings this was mixed direct to 2-Track Reel To Reel (and Cassette deck for backup and personal use) using headphones. Sitting in the club with the loud P.A. sound trying to drive the amp in my mixing board loud enough to hear what I was mixing.If you've ever been to a live concert,then,you know how loud it can be."

If you've ever been looking for an excuse to upgrade your sound system, these recordings certainly should provide you with some motivation, because they have incredible sound. And if you already have a quality sound system, you are in for a treat!! The audio goes straight to 20k hz, no losses I can detect. Due to the reality of tapes, even high end as used here, the low end starts at 47 hz.

And if you want to learn more about this incredible musical era, listen to the stuff you haven't heard, there are amazing gems in there.

Do we call these soundboards? Technically not precisely because this is not the house mix, these shows were mixed using a dedicated mixing board, with an additional 1 to 2 audience mics (1 for Mab because he needed 11 snake inputs), 2 at other clubs) in the mix. But I call it the Terry Hammer Tape Project (THTP) to make sure there is no doubt about the project's creator.

TECH:
Note that Terry made 2 master recordings (recording at the same time) when he mixed these shows live:
1: Reel to reel, for the radio stations:
Technics RS-1500 Reel To Reel (mostly TDK Audua L-1800 & LB-1800 tape with back coating or Scotch 206 / 207 with back coating. Maybe a few Maxell UD-XL). Terry made Dirk buy the tape for the Mab so Terry had him keep them in his warehouse. Those were destroyed in the fire.

2: For his own use, and as backup in case something happened to the reels:
AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape

3. Terry stopped doing the Fab Mab Live recordings for KALX in January 1981. He turned it over to KUSF then and they actually installed a phone line and broadcasted live from there. So all Fab Mab shows after January 1 were Terry at the soundboard, recording straight into his cassette deck.

Terry isn't sure, but thinks the audience mics he used maybe were Electro Voice EV-DS35's.

Info: http://www.bbesound.com/products/sonic-maximizers/482i.aspx

===========================================================
About Dirk Dirksen and the Mabuhay Gardens/On Broadway:

Dirk Dirksen (RIP 2006), aka 'The Pope of Punk', was the music promotor and MC (but really more accurately, the impresario) of the Mabuhay Gardens/On Broadway punk clubs. Dirk was an incredibly interesting, sharp-witted, biting, cutting element of the original San Francisco punk scene. His legendary introductions and post set commentaries are preserved in many of these recordings. Dirk was a nephew of United States Senator Everett Dirksen.

Shows at the Mabuhay started probably in 1977. The On Broadway was an upstairs night club right next to the Mabuhay that opened in summer 1981 and closed 1984. Terry recorded / broadcast Mabuhay gardens shows weekly. He was also the first soundman at the On Broadway when it opened in 1981 (they initially only did Friday/Saturday night shows).

The Mabuhay Gardens was originally a Filipino night club/restaurant run by Ness Aquino (RIP). One fateful day he was approached by Jerry Paulsen, who offered to try to fill the club on slow nights (Monday/Tuesday) with punk shows. Dirk took the booking and MC duties over from Jerry, and the rest, as they say, is history.

"...deliberately baiting and trading insults with audience and band members, which had the effect of raising the energy of audience and performers alike. In order to maintain the show's fast pace, he would move past an encore to get to the next band and tell the audience, "Eat it." Dirksen's abrasive persona (which was largely a performance) was a central part of the atmosphere of the Mabuhay.
...
Dirksen was the sole person responsible for connecting the English punk rockers with those in the United States. By creating an exchange program, punk bands for England and NY came to the Mabuhay and vice versa, staying in each city performing a few nights at a time."

Terry remembers him like this:
"He believed in theatre and group participation that's why he was sarcastic. He wanted to get a rise in people and get them to participate. He was a really nice person if you got to know him."

Dirk was also active with the organization H.E.A.R. (Hearing Education and Awareness for Rockers), the organization started by Kathy Peck of the Contractions (also part of this THTP series).

It was hard to really know how diverse his interests were until I went to his memorial service in San Francisco, where his punk friends and connections were only a fraction of the people who spoke in his memory. He was involved in various charities, the Mission Recreation Center, the list was quite large.

Wikepedia: https://en.wikipedia.org/wiki/Mabuhay_Gardens
Wikipedia: https://en.wikipedia.org/wiki/Dirk_Dirksen
SF Gate obituary: https://www.sfgate.com/bayarea/article/Dirk-Dirksen-pope-of-punk-amused-insulted-2466523.php

===========================================================
 - teetering

+

The Enemy
Mabuhay Gardens
San Francisco, CA
1980-01-26

THTP Release 26

Recording chain:
Stage mics > splitter (split to house snake/SBD and TH snake) > TH dedicated snake >
Peavy MkII 12 channel mixing board (11 channels snake, 1 channel audience mic) >
AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape

Archival Process:
1999: Sony TC-KA3ES > TDK SA-90 tapes playback (NO Dolby) > BBE 462 Sonic Maximizer (to clean up tapes) >
Tascam DA-30 DAT > HHb DAT-125 DAT tape
2002: HHb CDR-850 Professional CD Recorder (In real time) > HHb CDR74 Gold 100 year archival grade CDRs
2005: Transfered to HDD in AIFF file format

Dime release processing: AIFF Master Files > FFMPEG > 16 bit FLAC 8 > tagging, cover artwork, checksums.

Recorded, preserved, and master AIFF files provided by: Terry Hammer

Setlist:
01. Dirk intro >
02. Why Bother
03. 60 Cycles
04. Words Get In My Way
05. Alley Cats
06. Hot Men
07. In Different Worlds
08. No Response
09. I Forget
10. Bad Bad Bad < Dirk outro

Length: 30:03

Band:
Peter Barnes - drums
Michael "Wonderful" Clarke - bass
Suzi (Suzanne) Grant - vocals
George Gleason - guitar, vocals
Paul Hood - bass, vocals
Damon Titus - guitar, ass, vocals

Notes:
* This is NOT the Enemy from Derby, UK (also a 1980ish punk band). These Enemies are from Seattle, Washington.
* About band: http://pnwbands.com/enemy.html
* This band, like Legal Weapon (THTP 16) features a very strong woman singer. This band was not generic punk rock, but were still definitely a punk band.
* "The Enemy was one of the key groups in the NW punk scene, along with the Moberlys et al. They even had a well-respected single, 'I Need an Enemy'/'Trendy Violence' and started the first punk club, 'The Bird', which was closed down by the police (You can hear it at the beginning of 'Trendy Violence').
1st single: I Need An Enemy / Want Me 7"
2nd single: Bang Bang You're Dead / Trendy Violence
The Enemy used to be called the Fruitland Famine Band, and when [Paul Hood] joined to play bass the lineup was the same as FFB's except [Paul] took the bass player's spot."
* The police shutting down punk clubs, and harrassing punks, was a very common problem back in the early punk days. If you never experienced this firsthand, you probably didn't actually go out much during this time. Some clubs had pretty good relationships with the police force, I think Dirk and the Mabuhay had that worked out ok. And I saw firsthand the police getting a payoff at another, more underground punk club in San Francisco, the Sound of Music.
* Dirk actually seemed to like the Enemy, in his outro, re the closing song of the set, he says: "that was 'Bad Bad Bad' but I think it was 'Good Good Good'". It was unusual for Dirk to say anything nice, though he did complain about how much time the Enemy was taking to setup. But riling up the audience, and groups, was part of his thing, it was all a performance to create energy.
* Headliners SVT (featuring Jack Cassidy, from the Airplane/Hot Tuna) requested The Enemy play, and Soul Rebels (THTP 18) donated 5% of their take that night to help the Enemy pay for their trip down from Seattle (about an 18 hour drive, depending on fast you go).
* There was a kind of West Coast mini touring circuit from Southern California/Los Angeles up to San Francisco, then through Portland Oregon, then up to Seattle, and also Vancouver, in Canada (where DOA comes from). Each of those towns is a day or less from the next one (San Francisco > Portland is a 10-12 hour drive, the others are 4-6 hours apart).
* Dirk's intro rant gives a really good feel for how the shows at the Mabuhay worked, they had 3 or 4 bands a night, playing until 2pm (that's when liquor sales were cut off, so most clubs started closing by around 1:45). It was a tight schedule (that Terry managed to navigate with great success, which is and was amazing). That closing time is much later than you see now in clubs, usually the shows are over by midnight or a bit after now.
* 'Alley Cats' is not about the LA band (THTP 3) but just a general gripe about girl's sniping at each other behind their backs.
* This was first of 3 nights at the Mabuhay for the Enemy.
* Includes band photos.

===========================================================

No distribution in lossy formats!!
No selling!!
No bootlegging!!
No remastering!!
Yes sharing. Definitely share.

Support the artists when or if they play, and buy their records/merchandise.

Please correct any errors or oversights in this information in the comments section so the information can be as accurate as possible.

If you can find related materials like flyers, posters, ticket stubs, even photos, etc, please add them in a comment and I will add them to the main release folder, so that can be included on the next re-seeding. Every bit is welcome, and as I am time constrained on this project due to the amount of material, I cannot spend as much time on each release doing research as I would like, so if we can add to and improve the information and release contents during this series, that would be great.

Please make an effort to pick at least one of these THTP releases and keep it seeded for as long as you can, particularly the lesser known groups. That will really help out long term.

===========================================================
About Terry Hammer and the THTP:

Someone put my feelings very well about these recordings in the following quote. I can't really improve on their words beyond noting that these recordings sound absolutely and utterly stunning, and I consider myself incredibly lucky to be able to present these to you here in their original, first generation, lossless hi-fidelity versions, for the first time ever.

"[These recordings were] recorded and preserved by collector/engineer Terry Hammer, for broadcast over the UC Berkeley station KALX and several others from the 1979 -1981 period. Anyone who spent a night at one of these clubs knows how chaotic the atmosphere was. That he was able to, not only get a decent feed from the sound mixing board, but was also able to get clean recordings was something of a miracle. And the fact this guy did it over and over again is pure dedication to the cause of preserving history for decades to come. Fortunately for everyone, he’s been making these gems of history available and their value as historic documents is inestimable. This is really exciting stuff and I am grateful for Terry’s foresight and deft skill."
src: https://pastdaily.com/2014/06/25/gang-four-live-american-indian-center-san-francisco-1980-nights-roundtable-concert-edition/

As Terry notes about the process of recording these shows: "Like all of my live recordings this was mixed direct to 2-Track Reel To Reel (and Cassette deck for backup and personal use) using headphones. Sitting in the club with the loud P.A. sound trying to drive the amp in my mixing board loud enough to hear what I was mixing.If you've ever been to a live concert,then,you know how loud it can be."

If you've ever been looking for an excuse to upgrade your sound system, these recordings certainly should provide you with some motivation, because they have incredible sound. And if you already have a quality sound system, you are in for a treat!! The audio goes straight to 20k hz, no losses I can detect. Due to the reality of tapes, even high end as used here, the low end starts at 47 hz.

And if you want to learn more about this incredible musical era, listen to the stuff you haven't heard, there are amazing gems in there.

Do we call these soundboards? Technically not precisely because this is not the house mix, these shows were mixed using a dedicated mixing board, with an additional 1 to 2 audience mics (1 for Mab because he needed 11 snake inputs), 2 at other clubs) in the mix. But I call it the Terry Hammer Tape Project (THTP) to make sure there is no doubt about the project's creator.

TECH:
Note that Terry made 2 master recordings (recording at the same time) when he mixed these shows live:
1: Reel to reel, for the radio stations:
Technics RS-1500 Reel To Reel (mostly TDK Audua L-1800 & LB-1800 tape with back coating or Scotch 206 / 207 with back coating. Maybe a few Maxell UD-XL). Terry made Dirk buy the tape for the Mab so Terry had him keep them in his warehouse. Those were destroyed in the fire.

2: For his own use, and as backup in case something happened to the reels:
AKAI GXC-570D Cassette Deck > TDK SA-90 tape

Terry isn't sure, but thinks the audience mics he used maybe were electro Voice EV-DS35's.

Info: http://www.bbesound.com/products/sonic-maximizers/482i.aspx

===========================================================
About Dirk Dirksen and the Mabuhay Gardens/On Broadway:

Dirk Dirksen (RIP 2006), aka 'The Pope of Punk', was the music promotor and MC (but really more accurately, the impresario) of the Mabuhay Gardens/On Broadway punk clubs. Dirk was an incredibly interesting, sharp-witted, biting, cutting element of the original San Francisco punk scene. His legendary introductions and post set commentaries are preserved in many of these recordings. Dirk was a nephew of United States Senator Everett Dirksen.

Shows at the Mabuhay started probably in 1977. The On Broadway was an upstairs night club right next to the Mabuhay that opened in summer 1981 and closed 1984. Terry recorded / broadcast Mabuhay gardens shows weekly. He was also the first soundman at the On Broadway when it opened in 1981 (they initially only did Friday/Saturday night shows).

The Mabuhay Gardens was originally a Filipino night club/restaurant run by Ness Aquino (RIP). One fateful day he was approached by Jerry Paulsen, who offered to try to fill the club on slow nights (Monday/Tuesday) with punk shows. Dirk took the booking and MC duties over from Jerry, and the rest, as they say, is history.

"...deliberately baiting and trading insults with audience and band members, which had the effect of raising the energy of audience and performers alike. In order to maintain the show's fast pace, he would move past an encore to get to the next band and tell the audience, "Eat it." Dirksen's abrasive persona (which was largely a performance) was a central part of the atmosphere of the Mabuhay.
...
Dirksen was the sole person responsible for connecting the English punk rockers with those in the United States. By creating an exchange program, punk bands for England and NY came to the Mabuhay and vice versa, staying in each city performing a few nights at a time."

Terry remembers him like this:
"He believed in theatre and group participation that's why he was sarcastic. He wanted to get a rise in people and get them to participate. He was a really nice person if you got to know him."

Dirk was also active with the organization H.E.A.R. (Hearing Education and Awareness for Rockers), the organization started by Kathy Peck of the Contractions (also part of this THTP series).

It was hard to really know how diverse his interests were until I went to his memorial service in San Francisco, where his punk friends and connections were only a fraction of the people who spoke in his memory. He was involved in various charities, the Mission Recreation Center, the list was quite large.

Wikepedia: https://en.wikipedia.org/wiki/Mabuhay_Gardens
Wikipedia: https://en.wikipedia.org/wiki/Dirk_Dirksen
SF Gate obituary: https://www.sfgate.com/bayarea/article/Dirk-Dirksen-pope-of-punk-amused-insulted-2466523.php

===========================================================
 - teetering