SAN DIEGO, 4TH& B -- 11/26/96
Date: Thu, 28 Nov 1997 12:16:50 -0800
From: Ron Hromoko firstname.lastname@example.org
Subject: ROMO'S HOMETOWN: SAN DIEGO, 4TH& B -- 11/26/96
though always a walking, talking advertisement for san diego, i would not
so willing to associate myself with the uptight downtown 4th & B venue
this past tuesday evening. two yuppie-acoustic opening acts had the crowd
unplugged-and-mellowed, it took Todd a few [ten] songs to get the
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,
housing four to six well-behaved seated patrons. after the second
master toomey was preparing for the headliner; and i asked him what
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
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
sat at a safe distance from the stage, making a familiar reference
high-school 'assembly'. though a little reserved for a Todd show,
but if you
read on, you'll find a happy ending.
one world, cliche, i want you... T goes to open the show,
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
fascist, tables, espresso... T squats down in front of the
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].
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.
slow and dramatic. the video screen is extremely well focused
a great shot of T's fingerings.
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
"This guy figures if he comes and stands up here, then
else will too... and he's right!". a few others join the brave
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
hammer... the ending spit shower rivals that of the galaxy.
your rain hats.
family values, the i... the crowd's danceable ebb and flow
us jammin to the groove. T is now interacting with the much closer
crowd and enjoying it as much as we are. "naationnnwwiiiiiide"
tiny demons... the chameleon guitar draws ooohs and aaahs
the crowd. it's hard coming down from those previous two rockers.
common man... oh yeah. full, full sound with the green
we all scream along to T's amusement: "take a dive...
wwe... i like this so much better as a CuBase than with the
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
chorus. kurt rotates the horns for the rhino-effect.
hawking is hit or miss. nagoya was a hit, tokyo was a
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,
Todd says, "Hey, the kurt-meister...!" as he signs the photo. you
or stop me coming home to you
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