- The Boss
- Pacifying Joint
- Assume
- Mountain Energei
- Theme from Sparta F.C.
- Wrong Place, Right Time
- I Can Hear the Grass Grow
- What About Us
- Touch Sensitive
- Systematic Abuse
- Blindness
NOTES
- 71:23
- The Boss was officially released on The Fall Box Set 1976-2007
- A poor audience audio with a lengthy intro tape. Ben (mostly) and Elena dominates in the mix, the drums are oddly very low in the mix and the bass is inaudible. MES is very clear for the most part. There is some minimal audience chatter early on which deteriorates mid gig.
REVIEW
At the time regular Fall attendees described this as “brilliant, awesome, very good, quality, fantastic”.
“The Boss” kicks off with inaudible narrative from MES – the only discernible words are “The Boss” and “Good evening, we are the Fall from the long, long, long, days…..”. A punchy version of “Pacifying Joint” sets the scene for what is a very good performance. Whilst thi is fast it’s a nice fast unlike the manic pace of gigs later in April this year.
An odd tone to Ben’s lead guitar line tends to spoil a very good “Assume” ; Mark says “one, two, free me” to count in a nicely understated “Mountain Energie” where the drums are at least audible, as are a gaggle of Bristolian females who whitter endlessly throughout. Spen’s drums are bit too fussy at the changes, Ben is far too loud and the overall tune is lost in the loud bits.
“Sparta!” is very good indeed, taken at a fast motorik pace, Ben’s guitar tends to dominate and it’s a bit Rossi/Parfitt in places. Bristolian females yelp and chatter in parts. EP is inaudible vocally.
“Wrong place” is very accomplished and mostly Ben and the cowbell, and it morphs gently into “Grass” which is again drowned in guitar chords.
The centre piece of the set is an eleven minute plus version of “What About Us” where the guitar volume has some semblance of normality. This is the tour de force of the evening. “Touch Sensitive” is a tad to fast for my ears and seems a mite rushed.
“Systematic Abuse” is unfortunately drowned out by overloud guitar so as to make it more or less unlistenable.
Matters conclude with an exemplary keyboard solo, nigh on inaudible bass rumble, and a lengthy ramble through “Blindness”. A blessing in that for a great while Pritchard is not playing and drowning out the rest.
A great pity that what sounds like a very good gig is ruined by such an unbalanced recording.
The Track Record 