| Identifier | 9554562 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| Media Type | flac |
| Media Count | 2 |
| Note | watch tech notes for source-info |
| Tech Note | Caro Emerald Paradiso Amsterdam The Netherlands 28th October 2013 (2013-10-28) RECORDING: Type: Audience master, recorded 2 metres back from left-hand side PA stack. Source: Factory-matched pair of Schoeps CCM 41V microphones (DINa mounted) -> Marantz PMD661 recorder with Oade Concert Mod (-18 dB gain/44.1 kHz/24 bit WAV) Lineage: Audacity 2.0.4 * Amplified left channel by 1.3 dB. * Amplified right channel by 1.1 dB. * Applied variable amplification across recording for consistent listening experience. * Added fades. * Split tracks. * Converted to 16 bit. -> FLAC (compression level 8) [libFLAC 1.3.0 20130526] Taper: Ian Macdonald (ianmacd) SET LIST: 01. [01:01] [intro] 02. [03:45] One Day 03. [01:04] [interlude/banter] 04. [02:30] Completely 05. [02:18] Tell Me How Long 06. [02:58] The Maestro 07. [05:46] Black Valentine 08. [04:01] Pack Up The Louie 09. [05:08] Liquid Lunch 10. [07:28] Back It Up 11. [05:43] I Belong To You 12. [03:38] Mistaken Identity 13. [04:39] Paris 14. [04:26] Coming Back As A Man 15. [03:34] Riviera Life 16. [04:17] Excuse My French 17. [00:23] [banter] 18. [09:42] Dr. Wanna Do 19. [05:37] Stuck 20. [01:29] Intro Piano 21. [03:45] Tangled Up 22. [02:29] [banter] 23. [04:34] My 2 Cents 24. [04:53] The Wonderful In You 25. [06:48] You Don't Love Me 26. [08:14] A Night Like This 27. [01:54] [encore break] 28. [06:17] The Other Woman 29. [05:53] That Man 30. [02:28] [banter] 31. [04:42] Ne Me Quitte Pas Total running time: 131:40 MD5 CHECKSUMS: 04ddb3c39c904019669df223de89a0f7 *flac/01_intro.flac 6616f7f4a8f56f5177e6e51964395476 *flac/02_one_day.flac 04d37b3d1fe73e28a9fc6e6946c60db1 *flac/03_interludebanter.flac 245b967366afafa6f308715293c7ecdd *flac/04_completely.flac 373533303885a58a9f303f55a88ed1fc *flac/05_tell_me_how_long.flac 3d0e0187a07c07fd450cd09ccde166e6 *flac/06_the_maestro.flac 635ebfcf01f2836a6dd68898bdae94bd *flac/07_black_valentine.flac c8a2a6211f477dc8d0e9e9d6b6b01b78 *flac/08_pack_up_the_louie.flac 17f6be349c2aa6ede17c7acafbac8249 *flac/09_liquid_lunch.flac 882d5ff0afaae98cd97635c22d391816 *flac/10_back_it_up.flac 9ba09ec72fcd07f8e1beb5cebbbf9247 *flac/11_i_belong_to_you.flac 371ce0ed0bd01c8975407c0f171f2e07 *flac/12_mistaken_identity.flac 3bc0ce163246bf5137a6086ad1a0d95a *flac/13_paris.flac 9588157748bbb727f913284f105a12d3 *flac/14_coming_back_as_a_man.flac d4fd9493de4d37934b8f05850dd4f72f *flac/15_riviera_life.flac bd0634104044c88c64207f2c3ad3b977 *flac/16_excuse_my_french.flac cd11c3495b3a0c02d88b5546c4ef3c63 *flac/17_banter.flac 63ec8dca2e56b3574a4ed4855b869e50 *flac/18_dr_wanna_do.flac 239bf23c46f061c80f0eac8c1a3ab88f *flac/19_stuck.flac 38e50df8d238d9e7e3daf421f79d89ba *flac/20_intro_piano.flac 32c28c0e44aa20898adcd10b141fa504 *flac/21_tangled_up.flac 1c13166266b14e47488ef568ed90c858 *flac/22_banter.flac 4534dee8ef3e84d7142a7c290884a9fc *flac/23_my_2_cents.flac d6b7eb35a2d6b9750fff75b7573a0442 *flac/24_the_wonderful_in_you.flac 607a3e084cf568a3c221cb88b98a0c03 *flac/25_you_dont_love_me.flac cc175d24f2485573e0a3b35303e254f7 *flac/26_a_night_like_this.flac 185c970f032247640249cef7854baf1e *flac/27_encore_break.flac 68ff08ffbdd8875f8278983445566b0c *flac/28_the_other_woman.flac 53b9a2bbfe0e410cc93b346e88c28268 *flac/29_that_man.flac 6b0deceadf1ca56103a944aa7e27fbbe *flac/30_banter.flac 3f9aee80c467d3797628b47746174a8a *flac/31_ne_me_quitte_pas.flac 19724690cd7b14e865640da319368f6f *flac/checksums.ffp a60e42b269e733c091ebd51c9c418924 *tags.txt NOTES: Dutch music: what can I say about it that I haven't said before? According to the saying, a picture is worth a thousand words. If that's true, then this video lasting 3'47" must be worth 6,810 (assuming 30 frames per second): http://www.youtube.com/watch?v=RXiJcFVds0E Are you still there? Iceland, with its population of just 300,000, easily produces 20 times the amount of good music that the Netherlands does. Stated another way, if there's a Dutch album worth buying, you can bet your left testicle that there are 20 Icelandic albums that you should be giving equal consideration to purchasing. Most of the time, the dross stays within our borders, our dirty little secret, the only glimpse provided to the outside world being our invariably abysmal entry in the Eurovision Song Contest; but at least it's in good company there. But when Dutch music performs the minor miracle of crossing international frontiers, many of us wish it hadn't. Golden Earring, 2 Unlimited and Vengaboys are just three reasons I can give you. If we can at least contain the toxic matter, we can save ourselves a lot of international embarrassment and perhaps even retain an air of enigma, like, for example, Albania. I mean, you have absolutely no idea whether Albanian music is any good, do you? Optimists will at least grant a nation the benefit of the doubt. Enter the artist known as Caro Emerald, which is a lot easier for non-Dutch speakers to say than Caroline Esmeralda van der Leeuw. Emerald graduated with a degree in jazz singing from the Conservatory of Amsterdam in 2005. In 2008, she appeared on local Amsterdam TV station, AT5, singing 'Back It Up'. Word-of-mouth advertising had been set in motion. A cheap YouTube video added further fuel to the fire. In July 2009, 'Back It Up' was finally released as a single and received massive airplay on national radio. It was the most spun record of the year on daytime pop station, 3FM. An album soon followed at the start of 2010, entering the Dutch chart at number one and going on to dominate that position for a record-breaking 30 weeks. The album, 'Deleted Scenes From The Cutting Room Floor', subsequently received a UK release, where it reached a very respectable number four. Further success followed elsewhere in Europe, with he album going on to sell in excess of 1.3 million copies. Of course, there's plenty of bad taste in the world, so the figures alone don't actually mean much. Seemingly anyone can sell records if that's their primary motivation and they are backed by lots of cash and marketing expertise. The same approach even works to get an imbecile elected president of the most powerful country on Earth, so anything is possible. Caro Emerald isn't just good at what she does, however. It's that what she does is good in itself, and that's the difference between her and so many other (Dutch) artists: the formula is a good one. Her voice is perfect for the well-considered concept of early 20th century jazz updated for the new millennium with grooving electro-swing beats, samples and a dash of mambo and tango. I say 'formula' and 'concept', because the prosecution could argue that Ms. Emerald is a manufactured artist. Firstly, there's the very deliberate glamorous showgirl image. Then there's the fact that one invisible man composes the backing track to which another adds lyrics. But whilst it's not clear how much Emerald herself contributes to the foundation of the songs, the lady undeniably possesses the musical and vocal talent to bake the raw ingredients into something irresistibly delicious. The result is an unabashed celebration of the genre giants, such as Ella Fitzgerald, Billie Holiday and Sarah Vaughan. Emerald, however, has the distinct advantage of not being dead. There's nothing remotely avant-garde here. This is music for the masses, but performed with style and panache. She has a fantastic voice, but unlike Adele, for example, she even sounds good when she speaks. Her closest contemporary is perhaps Paloma Faith, although the occasional Latin nod of the head to Gotan Project also occurs from time to time, especially during 'I Belong To You' and, to a lesser extent, 'Tangled Up'. Fast-forward to April 2013 and Caro Emerald's second album, 'The Shocking Miss Emerald', a Dutch and UK number one, followed by a tour of the UK to unanimously glowing reviews. The world is her oyster now. After visiting various European cities, the tour now reaches her homeland -- indeed, her hometown -- and the crowd have turned out in full force for her tonight. The Paradiso is packed to the rafters, the audience evidently undeterred by the worst storm to hit the country since 1990, one that has left a trail of destruction in its wake, closed the city's parks and left one person in the centre of the city crushed to death under a fallen tree. Speaking of the audience, there's a significant older contingent present this evening. I feel positively youthful in here, a feeling that has all but made the transition from recurring experience to fondly held memory. Emerald hits the stage a little after 20:30, looking like a voluptuous latter-day Bettie Page. There's no support, but by the end of the first song, the audience are fully primed for an evening of jazzy pop. And that's what they, i.e. we, get. She was already selling out multiple nights at the Heineken Music Hall after her debut album took the country by storm, so, three years on, we're lucky to still be able to see her in the relative intimacy of the Paradiso. It must have been a deliberate decision to play smaller venues on this tour and it's a decision I applaud. Emerald has assembled a talented band of musicians, including an excellent brass section, and they are tight from six weeks of touring. One song follows the other with nary a break in-between. Even the stage banter, of which there is plenty, generally takes place during the song intros. The pace never lets up. With only two albums under her belt (not to mention a bulging baby currently just above it), I'm not expecting the generous length of performance she gives this evening. The pregnant Emerald sings for just under 2¼ hours and my recorder is running on fumes by the end of it. I glance down after each song, cringing as I peek at the flashing LEDs that signify sustained life. Every time I think the final song has been sung, she pipes up and sings another. The second to last song, 'That Man', is performed with the 15 year old Tim on drums. We're told that Tim's appearance is related to some Dutch TV programme that follows musically talented young Dutch people, and his arrival on stage is accompanied by a TV crew who record the performance. Caro changes gear for the final song of the evening with a cover of Jacques Brel's 'Ne Me Quitte Pas', sung in both French and English. The change of pace forms a nice contrast and is a fitting close to the show. And somehow, my recorder has made it to the end. Here it is, the integral performance from the penultimate night of the tour, in glorious, rich sound. You'll think you're there. Try it with headphones for the full effect. Given the audience demographic this evening, the usual mad dash to acquire a souvenir set-list from the stage fails to materialise. I walk the few steps from my position to the foot of the stage and gently tug at a set-list that has been gaffer-taped to the floor. It finally gives way and, to my surprise, turns out to be laminated. Just wipe clean and reuse the following night; unless some bastard taper has made off with it, that is. As always, samples are included in the comments to assist you in deciding whether or not to download this. You see? Dutch music CAN be good! |
| Trades Allowed |
Performance
| Caro Emerald 2013-10-28 Paradiso, Amsterdam, Netherlands | |
|---|---|
| Set 1 | One Day Completely Tell Me How Long The Maestro Black Valentine Pack Up The Louie Liquid Lunch Back It Up I Belong To You Mistaken Identity Paris Coming Back As A Man Riviera Life Excuse My French Dr. Wanna Do Stuck Tangled Up My 2 Cents The Wonderful In You You Don´t Love Me A Night Like This The Other Woman That Man Ne Me Quitte Pas |
| Set 2 | |
| Set 3 | |
| Comment | |