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R.E.M. 01/26/1995

SHOWID 24106

Set I

Circus Envy, What's the Frequency Kenneth?, Crush With Eyeliner, Disturbance at the Heron House, Drive, You, King of Comedy, I Don't Sleep I Dream, Revolution, Try Not to Breathe, Tongue, Man on the Moon, Half A World Away, Losing My Religion, Pop Song 89, I Took Your Name, Orange Crush, Get On Their Way, Star 69, It's the End of the World As We Know.., Let Me In, Everybody Hurts, Wichita Lineman, Bang and Blame, Finest Worksong

Set II


Set III


Comment


Collectors With This Show

User (active/rating) Media / # Show Sound Details DB Source User Source
Tulum (5/0) FLAC / 27 View   DAT to WAV capture using M-Audio ---> Adobe Audition ---> FLAC
Notes: Here’s a clean, clear, and likely not-very-circulated recording I made in 1995, when R.E.M. began its year-long tour to support Monster. Australia is beautiful and it was their summer, so I lined up freelance work, got my tourist visa, and arranged to bring recording equipment, too. I saw three shows in Sydney and two in Melbourne. Though the tour was in its embryonic stage, the performances were quite good. The band focused on material from its most recent albums. They changed their set every night, so here, we get “King of Comedy,” which they later dropped (Mike Mills said some months later that it was “too hard to play”), the unreleased rant "Revolution," and a cover of “Wichita Lineman” with tennis player Jim Courier playing drums. He needed a few attempts to get the song going, but eventually got it right. We also heard a well-received “Disturbance at the Heron House” and “Half a World Away.” Samples attached. I recorded four nights, missing only the first in Sydney, where I got busted and endured a stern dressing-down from one of the band’s crew. Undeterred, I went on to tape the remainder, and enjoyed them a lot. Grant Lee Buffalo and Died Pretty opened, and they were terrific, too. Trade freely, and for free, and enjoy! - slipkid68
Tulum (5/0) FLAC / 28 View   Sony TCD-D8 DAT Recorder > Sonic Studios DSM-6 mics
Notes: 2025 JEMS transfer + remastering Here’s a new version of the final concert R.E.M. performed in Australia near the beginning of its 1995 tour, getting itself together after being off the road for more than five years. Behind “Monster,” R.E.M. made its case as a ’90s band, drawing heavily from that LP and Warner Bros. predecessors “Automatic for the People,” “Out of Time,” and on this night, “Green,” too. Some tunes got revved up (“Try Not to Breathe”) while others took the scenic route (“Half a World Away”). Though the tour was in its embryonic stage, the shows were quite good, augmented by a second auxiliary musician and a bonanza of new music. Michael Stipe’s persona was cipher-like: he seemed content in allowing the audience to make of him what it wanted. “Thanks,” he’d say. “Here’s another song” — wry and to the point in such instances, then charming and heartfelt in others, like his remarks here to set up “Man on the Moon.” Over two nights in Melbourne, 12 different numbers rotated in. That put “Disturbance at the Heron House,” the aforementioned “Half a World Away,” and a lovely cover of Jimmy Webb’s “Wichita Lineman” (with tennis player Jim Courier playing drums) alongside standard numbers like “Losing My Religion,” “What’s the Frequency, Kenneth,” and “It’s the End of the World As We Know It (And I Feel Fine).” Note that Michael sang a few lines a cappella from “Winter” by Tori Amos to lead the encore. I recorded four nights — five, if you count January 18 in Sydney, where I carelessly let the light from my deck make its way into the eyes of a nearby snitch. After shaking off a stern rebuke from the band’s tour manager, I recorded the remaining dates I attended, enjoying the Australian summertime and making new friends along the way — all’s well that ends well. A tape, our dear friend Jared Houser liked to say, is better than no tape. This one features intermittent chatter and clapping, but nothing proved overly intrusive (I excised a few egregious instances). As January 26 was the tour’s tenth date, a few miscues creep in; more often, however, you’ll hear stretches of good R.E.M. music — I hope you enjoy hearing them. My old pal BK helmed the 2025 transfer and mastering. It's a real improvement over the prior one; though we were concerned about diginoise, it appeared only in a fleeting moment. I was perhaps too active with managing levels, but BK took two passes to smooth that out in post. Thanks again, friend. And here’s to Jared and Stan. Without them, the world would be a far quieter place. And not in a good way. Share it freely, and for free! - slipkid68
LordFlapjack (5/0) FLAC / 2 View   Sonic Studios (DSM6) > Sony TCD-D7 > DAT-M > FLAC
Mike Marteny (5/5) cdr / 2 A View   DAT(M)>CDR(1)
Notes: D1 60:32 D2 51:54
BLG (5/0) FLAC / 1 View   Sonic Studios (DSM6) > Sony TCD-D7 > DAT-M > FLAC
Dave (5/0) / 2 View  
Andrew Davies (4/4.4) CDR / 2 View  
Mark (4/0) disc / 2 A A View  
audiowhore (3/5) CDR / 2 C View  
Notes: missing entire encore
buc2220 (1/5) HARDRIVE / 2 View   AUD
Sabine (0/5) CD-R / 2 B- View   AUD