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    Yes, the reason for Bristol is that it was the first Send set (and the only one that has DJ Fuckoff as the opener). It's quite diffferent to the more honed versions from 2004, for example. And you'll get some of these in future releases.

    I like the idea that the series has recordings of historic significance, not just the best-quality tapes. Sometimes you get the best of both worlds, of course...

    The bootleg series is an ongoing project that will show Wire from many angles.

    Bruce seems to be having amnp problems at the T&C. I was there, but don't remember it being a major incident!
    A suggestion for future releases: Pre-order is more than cool, but could there be an actual date attached to when we should expect the download link? I'm fine with committing my money well in advance, but then being in limbo, being told only that I'll receive the link "soon," is frustrating. If they won't be ready until, say, the 8th, be up front with that. If it happens sooner, all the better, but stating a specific date makes the wait a bit more tolerable.
    You know, I really hate to sound like a troll/complainer and I do appreciate the great lengths Wire go to please their fans but I am extremely disappointed in this latest round of bootlegs. First of all: The holy-grail Jeanatta Cochrane bootleg is absolutely not "miles ahead" of the Turns & Strokes recordings. It sounds to me like it's just a slightly better transfer of the same source. Was this even remastered? I can't imagine that ear piercing high end would be left in after going through that process. If Turns & Strokes was an F quality recording, this is a D at best and that's really being generous. Is it just me or are there noticeable digital artifacts in some of the tracks too? Very disappointing considering the additional wait.

    The Send set is also disappointing in recording quality. I understand that "DJ Fuckoff" is of historical importance, but to me that doesn't really justify the inclusion of this set. I personally would prefer to hear better quality shows, especially ones from the Manscape/Wir period which seems like it's going to be glossed over during this series.

    On a more positive note, the T&C gig is fantastic and probably my favorite one yet. This is the level of recording quality I would expect from a paid bootleg series. I understand that Wire is aiming to please a lot of different collectors and I will continue to support them for all of the great music they've made but it's disappointing when you anticipate something and it comes nowhere near your expectations.
    A Word From The Sound Quality Complainer:

    For whatever reason, and as mentioned before, I've gotten used to and have begrudgingly accepted most Swim~ studios product generally sounding unpleasant - be it too heavy on the bass (Malka's records, Oracle, Githead's Profile), too heavy on everything (Send), or just ugly. It started back with Rosh Ballata and has rarely changed, though there are exceptions. R&B3 and Object 47 are sort-of improvements, but vary. I realize this may be a delayed reaction to the super-widescreen reverb parties contained in the Mute records, but is this an overcompensation? It's a shame really, for I adore all of the material that I'm mentioning here.

    I'm not trying to pick on Colin, nor am I trying to suggest that everything should sound like the Mute-era records or even the EMI records. Not in the slightest (though I'd prefer the latter if there was a stated engineering goal). But it has become par for the course for me to be unhappy with the sound of recent output even when the material is fantastic. That's how Wire wants it I guess, so that's cool, and as always I will still line up to buy whatever they're willing to grace us with, but I look at Bruce's latter-day output, or Graham's projects, Yclept, hox, WMO, etc, and many of them were even mastered by longtime mastering collaborator Denis Blackham - and sound terrific. So perhaps the problem starts a bit more "upstream".

    There must be a balance between the glossy Mute era and the "raw" sound that is apparently the goal now. Even the Daytrotter Sessions are a significant improvement on, say, the over-the-top Send. I took a lot of guff for trying to differentiate between artist/producer/engineer, but frankly when there was a third party twiddling the knobs - up to right about The First Letter - I was much more pleased with the outcome.
    So you all have received your download links? I'm starting to get annoyed …
    Doc, I got mine last week. I suggest you ring the Greedbag hotline:

    020 77294343
    I emailed again this morning (EST) and am assuming the lack of response is a time change issue. On Friday I was told "soon," but still nothing. I had a similar problem with the first round, too, requiring multiple emails. Makes me wonder whether I'll have comparable problems on the 20th.
    From the T&CC gig... 'Drill' and 'Over Theirs' ... aren't these the same date / versions that appeared on ABIAC as extra tracks on the CD?

    I'm wondering if there is another recording (that perhaps Mute own the rights to?) of the gig as the quality on the ABIAC versions is a lot better or have I got this all wrong? :)

    I would love to hear some LB versions of Manscape / Wir -era gigs too if doable but am enjoying the selection so far.
    Well those two live versions do sound similar despite the difference in length, the ABIAC versions certainly sound polished up and probably edited. Could be wrong but they do sound like the same gig.

    Also in reference to 7jlong's comments about recent production i have to say i totally agree. I much prefer the decent quality live versions of the send tracks to the studio versions. Send could have been mind blowing but due to some of the production it suffers, i'm not blaming Colin, it's probably just the digital recording that is the main problem. I must say though that R&B 3 and for instance All Fours sound really good so i think basically the technology for digital recording and better quality plug-ins have helped. Financially it makes total sense to do it this way.

    Also i think Colin has got a lot better at recording and mixing. Although it would be interesting for hear what Wire would sound like produced by someone else these days. Steve Albini or even Eno could be interesting. As usual it comes down to the money and what they can afford.

    Sorry for waffling and no offence to Colin, i think the new album is going to sound great. i still love all the songs and that's what counts!
    Agreed on R&B3 (especially 23 Years Too Late) and All Fours sounding very good indeed.

    Practice Makes Perfect?
    @bluntlaser: I've not been a huge fan of some of Wire's recent production. Send-era's mental EVERYTHING TO 11 worked for some of the tracks, but it's a bugger to play sometimes, and O47 was kind of gloopy, with many of the angles hidden in the mix.

    To my ears, Red Barked Tree is much more balanced and pleasing to listen to, in all sorts of ways. Some tracks are a bit bass-heavy (Bad Worn Thing, in particular, although that's also my favourite track on the album), but there's more openness and clarity in this record than any recent Wire.
    Who's playing the sax on the Jeanetta cochrane version of "Crazy About Love"?
    Graham..see front cover.
    Yep, Red Barked Tree sounds great! Nice one Colin! Sorry couldn't resist an illegal download. I have pre-ordered and intend to buy the cd and lp so i think i'm allowed! Best Wire LP since the 80's. Very pleased.
    Illegal download? How the hell has the album got 'out there'? Good grief. (Some dodgy press hack, presumably.)
    I guess it must be a journo, i don't really understand why they do it?!
    'Send-era's mental EVERYTHING TO 11 worked for some of the tracks, but it's a bugger to play sometimes'

    ??!!?? This is one of the few albums that has stayed in near-constant rotation for me since its release ... the NOISE is essential! Although personally, I always play the LP version (I prefer all the songs stripped to barest bones).

    I do get confused at people's comments about production sometimes ... I remember a thread on a Velvet Underground forum wherein many 'fans' complained about the (ahem) 'poor production' on White Light/White Heat and wished it could be cleaned up ... similarly, everybody wet their pants with glee when the Iggy-mix of Raw Power and I was roundly mocked for preferring the Bowie-mix ... but suddenly, now that it's time to eke a few more pennies out of the Stooges' CBS material, everybody's saying 'I always preferred the Bowie mix' ... !!

    The only LPs that really sound weak to me are the last three Husker Du LPs ... if only Spot had produced these! Oh yes, and loads of Fall albums, but let Mark Smith into the control room and you've had it ... and then there's ... actually, I can think of loads!

    But PLEASE don't let Eno near Wire ... he's the most over-rated person in 'pop'. A few nice swirly bits on the first two Roxy LPs and a couple of good solo albums ... but as for production and his laughable 'oblique strategies' nonsense (which somehow ends up with everything he produces sounding just like any other album ... ) ... his Talking Heads productions are pretty flat apart from Remain In Light (I credit Byrne with that) and he had the temerity to slag off Devo for their stating exactly how everything should sound ... well, it's THEIR album, you egotistical dullard! Get back to U2!

    Once again, I digress ... oh, and Object 47 sounded painfully clean to me, but then I only ever managed to get through it once ...
    I got the download of RBT too. I pre-ordered it so I couldn't resist. This album is fucking amazing. Leagues ahead of Send and O47. You all are going to be very surprised. It has a very similar clean production to O47 but the execution is much better in my opinion...
    "This is one of the few albums that has stayed in near-constant rotation for me since its release ... the NOISE is essential! Although personally, I always play the LP version (I prefer all the songs stripped to barest bones)."

    No, no, wait - I tried to be very clear that I personally am very fond of the material itself, especially Nice Streets Above, perhaps the most chaotic and out-of-control of the bunch. I like the layers, the crunch, the noise. But I think what Craig and I are both getting at (though I won't explicitly speak for Craig) is that it can, for example, be tough to play without the bass rumbles in NSA farting away and losing their shape, or the guitars going over the top and distorting, etc. If you play it somewhat softly you don't overdrive your stereo and can hear the textures a bit better, but go too far and it's like a severely abused PA at a dive bar. And this is not really music to be played softly! (and no, I don't have a junky stereo that just can't handle it)

    Was that they effect they wanted? Fair enough. I understand. I'm just not sure I agree with the tactic. But it's not my album when all is said and done, so who am I to whine!

    And on that note: a shame to hear about the downloads being put up, and I'm staying away. I don't want to restart ye olde MP3 argument either, but unless they're FLAC I really have no desire to hear whatever iffy compressed files have been posted. The album has been ordered, and there have been much longer waits for new Wire material in the past so I think I can wait just a little bit longer!
    "But I think what Craig and I are both getting at (though I won't explicitly speak for Craig)"

    Got it in one with what you said. By comparison, O47 was a bit gloopy. RBT is lovely, however.