The Meatmen @ Washington, DC 1984-01-28

https://drive.google.com/drive/folders/1qmaMWeGDKpeMtpXFl9Xqmg3KqRwqKw5I?usp=sharing

Meatmen
Wilson Center
Washington, DC
1984-01-28 (Saturday)

MYTP 2

Source: SBD > Sony D5M (?) > Cassette Master > CD
Extraction: CD > rubyripper 0.8 (cdparanoia secure rip, cdrdoa TOC) > FLAC
Processing: Audacity (soft limit -0.1db to remove clipping, splits) > FLAC 8 > acxi (tagging, checksums, FLAC data)

Recorded by Richard Stankiewicz
Preserved, shared by micgram
Release processing by teetering

FLAC: 16/44.1 (2 channels)
Quality: 3/4 (12khz, good, but channels odd)
Time: 45:25.99
Size: 249.8 MiB
Average kb/s: 769
Tracks: 27

Setlist:
01. intro >
02. Kick Out the Jams (MC5)
03. audience, tuning >
04. Meatmen Stomp
05. tuning, banter >
06. Day Tripper (tease) > 1 Down 3 To Go
07. tuning > intro >
08. I've Got A Problem
09. banter > intro >
10. Dance To The Music (Sly & The Family Stone)
11. banter > intro >
12. Hell's Bells (AC/DC)
13. banter > intro >
14. Crippled Children Suck
15. banter > intro >
16. Mr. Tapeworm
17. banter, intro >
18. I'm Glad I'm Not A Girl
19. Love Me Tender (tease) > What's This Shit Called Love? (The Pagans)
20. banter > intro >
21. Blow Me Tammy Faye
22. banter, intro >
23. Crapper's Delight
24. audience, intro >
25. Lesbian Death Dirge
26. //Tooling For Anus
27. tuning, banter > //

Recording notes:
* Looks like the tape was running out, the recording cuts off at just a bit over 45 minutes, then starts for a bit.
* The beginning of Tooling For Anus is cut, not sure how much of rest of show is missing.
* The last track is just the band tuning up for last song, which isn't included in this recording (Tesco says "this is the last one"). Tape probably ran out.
* This is a very smallish club soundboard mix, with some of audio in one channel, and some in the other.

Band:
Tesco Vee (Robert Vermeulen) - vocals
Lyle Preslar – lead/rhythm guitar
Brian Baker – lead guitar
Bert Quieroz – bass
Rich Moore – drums
?? - keyboards, sax, trumpet

Notes:
* Since this is early 1984, I'm assuming Graham McCulloch (bass), and Eric Zelsdorf (drums) had not yet replaced BErt and Rich. If this is wrong, please correct.
* Show Lineup: Meatmen, Grand Mal, Marginal Man, Second Wind
* Includes flyers.
* Mike: "The meatmen was recorded by my friend Richard Stankiewicz at the Wilson Center in D.C. He also recorded Rock Against Reagan 1983-07-03 which I went to with him and my friend Howard who did shows at the Love Club in Philly. [Richard has] done some great audio and video throughout the years in the Philly area."

* About band:
https://en.wikipedia.org/wiki/The_Meatmen
"The Meatmen are an American punk band headed by Tesco Vee, originally existing from 1981 to 1988, before reforming in the mid-1990s, and again in the 2000s. They were known for their outrageous stage antics and offensive lyrics. They reformed in 2008 and continue to tour and record.
...
The Meatmen formed in Lansing, Michigan in 1981. The original band, existing with various lineups for approximately two years, first comprised vocalist Tesco Vee (a.k.a. Robert Vermeulen), guitarist Rich Ramsey, bassist Jim Forgey and drummer Mr. X.[3][4]
The Meatmen made their recorded debut with the song "Meatmen Stomp", which appeared on the 1981 7" compilation EP Process of Elimination, released in 1981 on Touch and Go Records (an offshoot of Touch and Go fanzine, which Vee co-founded in 1979).
The band's first 7" EP, Blüd Sausage, was released in 1982 on Touch and Go.[6] By this time, Gregg Ramsey had joined on guitar, with his brother Rich switching to bass, replacing Forgey. For their second EP, Crippled Children Suck, issued later that same year, Vee and Rich Ramsey (now on guitar) were joined by two new members, bassist Mike Achtenburg (formerly of the Fix)[8] and drummer Berl Johnson. Also in 1982, Vee and Achtenberg played in the brief punk supergroup Blight.
In 1983, the Meatmen issued a full-length album, We're the Meatmen...and You Suck!!, compiling the first EP on side A, and live material recorded at New York City's Mudd Club on side B.
Vee then relocated from Michigan to Washington D.C. in the fall of 1983, dissolving the Crippled Children Suck lineup and assembling a new band consisting of members of several DC hardcore bands. Vee then released the 1984 EP, Dutch Hercules, credited to Tesco Vee and the Meatkrew, before reforming the Meatmen with a rotating cast of members including Todd Swalla of Necros and Brian Baker and Lyle Preslar of Minor Threat. During this period, the band changed their approach dramatically to a more heavy metal sound. "

* "That was our punk set, now we're going to do some metal for ya'..."

* About Wilson Center (15th & Irving Street NW, Washington DC)
This is NOT the Woodrow Wilson International Center for Scholars (aka, The Wilson Center), but rather:
* https://www.dcwiz.com/the-wilson-center.html
DC's Infamous Punk Rock Institution 1981-1985 / 1987-1996, videos, etc.
* https://washingtoncitypaper.com/article/426011/dont-get-nostalgic-mark-andersen-on-the-30th-anniversary-of-the-wilson-center/
"Q: Washington City Paper: The Wilson Center has been around for 30 years but its use as a DIY space, a stage for punk shows, hasn’t been continuous throughout this period. What’s the history?
A: Mark Andersen: The Wilson Center was first used for a punk show on April 4, 1981. It was organized by H.R. of the Bad Brains, one of their last shows before they moved to New York. Looking back, it was a historic show because bands that are looked to now as trailblazers played: Bad Brains, Minor Threat, Government Issue, Void, Scream, and others. That kicked off a period of heavy use by the D.C. punk scene that lasted until 1985.
There was a break because those shows came to be afflicted with violence and were no longer welcome by the community. So the Wilson Center didn’t function as a punk space again until 1987, for Fugazi’s first show."

--------------------------------------------------------

No distribution in lossy formats!!
No selling!!
No bootlegging!!
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 MYTP releases and keep it seeded for as long as you can, particularly the lesser known groups. That will really help out long term.

--------------------------------------------------------
About Michael Young and the MYTP:

Michael: "I lived in the bay area 1980-92. Being a Deadhead I had a lot of friends who recorded shows, so when I got a nice Sony D5M (in 83, I think it was) I would bring it with me to the Mabuhay Gardens and On Broadway and other places as well. I would ask the sound man if I could plug in and they usually said yes. I did this mostly in 1984 a few in 85. My first punk show was in my hometown of Philadelphia at a place called the Hot Club in 1978. I was hooked on the high energy and the fun of slamming around... I think my first SF hardcore punk show was Flipper at Kezar Pavilion in May of '81. I might have seen some other bands around town before that but that one sticks out for sure."
[teetering: I was also at that Kezar TG/Flipper show. Flipper was great that night.]

TECH:
Michael used a Sony D5M portable cassette recorder, plugged into the soundboard outs, to record most of these shows. This was for the time a very expensive unit, with some advanced features, which probably accounts for why these recordings are so good in general.

* D5M manual: https://transom.org/wp-content/uploads/2005/02/om.tcd5m.pdf
* About D5M: https://transom.org/2005/sony-tc-d5m/
All metal, reliable, simple, and fixable, it runs on two D-cells

* More on the D5M: https://www.cassettedeck.org/sony/tc-d5m
This Sony TC-D5M is a stereo cassette deck with Dolby B noise reduction, it was first sold by Sony in 1979 with a recommended retail price of USD $680 [about $2500 in today's dollars] and discontinued a year later.
The main features of the Sony TC-D5M are: 2 heads, mechanical 3 digit tape counter, manual tape type selection and capable of handling normal, chrome, ferro-chrome and metal tapes, belt driven single-capstan transport.
Typical of this deck is the 70's top loading layout with the cassette compartiment located on the left side of the deck. Tape eject is operated mechanically and the cassette needs to be placed with the side to be played facing forward in the cassette well.
Level meters used on the TC-D5M are analog needle VU reading meters. Mechanical transport controls for reliable TC-D5M transport function selection.
The Dolby-B system reduces tape hiss on tapes recorded on the TC-D5M by as much as 10 dB at the highest frequencies. The 19kHz multiplex pilot slgnal present in FM stereo broadcasts can cause false triggering of the noise reduction system. The switchable MPX filter of the TC-D5M filters out the pilot signal, and assuring proper Dolby processing of FM stereo programs.
To make live recordings this deck has 2 microphone inputs to connect microphones with a jack connector.

--------------------------------------------------------
 - teetering