SAN DIEGO, 4TH& B -- 11/26/96

Date: Thu, 28 Nov 1997 12:16:50 -0800
From: Ron Hromoko romo@cisco.com
Subject: ROMO'S HOMETOWN: SAN DIEGO, 4TH& B -- 11/26/96

though always a walking, talking advertisement for san diego, i would not
be so willing to associate myself with the uptight downtown 4th & B venue
this past tuesday evening. two yuppie-acoustic opening acts had the crowd
so unplugged-and-mellowed, it took Todd a few [ten] songs to get the
dance partay going.

during the opening acts, kurt and i eyed the open twelve feet of space
between the stage and first firewall of small [reserved] drink tables,
each housing four to six well-behaved seated patrons. after the second
opener, master toomey was preparing for the headliner; and i asked him what
the deal was with the open twelve feet of space in front of the stage. he
said it was ok for anyone to stand anywhere. that's when carol d'amico
and i started 'the movement'. we dragged our chairs from our own drink
tables from half-way back in the house to the buffer in front of the stage.

and there we sat. Todd opened the show and was amazed at how everyone
just sat at a safe distance from the stage, making a familiar reference
to a high-school 'assembly'. though a little reserved for a Todd show,
but if you read on, you'll find a happy ending.

black-acoustic:

one world, cliche, i want you... T goes to open the show, then
gets confused before playing, as the opening chords to one world
match some other song. the voice just keeps getting better, and
he knows it. during cliche, it appeared as if his voice was
completely separate from the physical. he would open his mouth,
and if the note came out he would push it harder. if it didn't,
he backed off. tonight, he couldn't push it hard enough.

enhanced-cd:


fascist, tables, espresso... T squats down in front of the piano
so us doods over at stage left can see the demo [thanks, honey].
the energy level is extremely high for these latter two, and
espresso has us squirm-dancing [seated in our chairs, of course].

baby-grand-drummers-stool-T:

wouldn't have made, viking, can we still, compassion... T appeases
the 'sappy' crowd with the ballads. GQ gets the horns for viking,
where the lower register of the piano pickup is poor. compassion is
slow and dramatic. the video screen is extremely well focused for
a great shot of T's fingerings.

we've-had-enough-let's-get-up-and-partay-T:

b&w, #1 lcd... T get's up from the piano and again comments on
how well-behaved everyone is in their seats. then, a brave soul
acts on what everyone is thinking and walks right up to the
stage. he and T exchange a brief, off-mic dialogue, then Todd says,
"This guy figures if he comes and stands up here, then somebody
else will too... and he's right!". a few others join the brave one,
kurt and i look at each other, nod, and we're gone. T smiles as
around fifty or so have gathered round the stage. T feeds off
the newly found energy from the crowd for the best version of b&w
i've heard on this tour thus far. #1 LCD is with the green p-project
solo. it's now a whole new ballgame.

black acoustic:

hammer... the ending spit shower rivals that of the galaxy. bring
your rain hats.

enhanced-cd:

family values, the i... the crowd's danceable ebb and flow has
us jammin to the groove. T is now interacting with the much closer
crowd and enjoying it as much as we are. "naationnnwwiiiiiide"

woodgrain-T:

tiny demons... the chameleon guitar draws ooohs and aaahs from
the crowd. it's hard coming down from those previous two rockers.

p-project-T:

common man... oh yeah. full, full sound with the green monster.
we all scream along to T's amusement: "take a dive... !"

encore-T:

wwe... i like this so much better as a CuBase than with the band.
the pace is controlled and the rap flows much better without T
trying to keep up with prairie. we all thrust fists in the air
for the chorus. kurt rotates the horns for the rhino-effect.

hawking...

hawking is hit or miss. nagoya was a hit, tokyo was a
near miss, santa ana was a miss. san diego is a bullseye.

T then begins to oblige by signing many goods for the eager crowd, shaking
hands, and blowing kisses. when he finally makes his way over to stage left,
i hand kurt the sharpie, he thrusts it up to Todd with a bammies photo,
and Todd says, "Hey, the kurt-meister...!" as he signs the photo. you go,
boy!

or stop me coming home to you
romo-diego


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