Sportpaleis Ahoy
Rotterdam, The Netherlands
January 10, 1990
Recorded by [MvdV?]##
Remastered by BigGiRL (2015)
"ROCK N' ROLL LOVETOWN"
(25th anniversary edition)
https://www.sendspace.com/file/sakxxp
https://www.sendspace.com/file/g605gk
https://www.sendspace.com/file/0tdwmf
LINEAGE: [Unknown (analogue?)## master] > 2nd gen DAT. AKA Goodnight from Lovetown#
> REMASTER: [WAV] speed correction* > [Pristine Sounds] > EQ > > Generic noise surppresion
"This is OK" > Volume adjustment > Edit^ & track split > FLAC > TLH
(frequency and spectrum analysis + checksum & artwork are included)
Track list:
01. Bullet The Blue Sky
02. Desire
03. All Along The Watchtower
04. Slow Dancing
05. All I Want Is You
06. Where The Streets Have No Name
07. I Will Follow
08. I Still Haven't Found What I'm Looking For
09. People Get Ready (feat. Daniel Baars on guitar)^^
10. Bad
11. Van Diemen's Land
12. New Year's Day
13. Pride (In The Name Of Love)
14. [encore break]
15. Angel Of Harlem
[fade out/fade in]
16. When Love Comes To Town (feat. BB King)
17. Love Rescue Me (feat. BB King)
18. 11 O'Clock Tick Tock
19. Out Of Control
20. "40"
*Reference for speed correction:
Marcel Anders "MA D6 Version" [Lineage : 1st gen tape (2xXLII90) > wt2496 > CEPRO > CDWAV > FLAC]>
SPEED CORRECTION (1) -7/100 semitone: Track "01-All you need is Love (tape)" matches the original Beatles track] >
SPEED CORRECTION (2) -49/100 semitone: BTBS from "MA D6 Version" matches BTBS from Goodnight from Lovetown.
^EDITS:
-intro: first 5 seconds from "MA D6 version" to create smooth fade in.
-transition between "Bad" and "VDL" patched from crowd noise elsewhere
-fix of AOH-WLCTT transition (see also below)
# Original Notes (Justin Cook & Mike):
"...this bootleg was mastered from a second generation DAT. Sound quality and clarity
are phenomenal. The overall sound is very crisp and there is very little background noise.
A quick check of the recording revealed only one very minor blemish, a few seconds of
dead air between "When Love Comes To Town" and "Love Rescue Me"."
"Justin mentions this is a second gen DAT. I don't know exactly what that means, but there it is.
Nothing much to add, this is the same recording used for All I Want is U2 and the copies
of that (see FLOM). Were it not for the audience noise, which sometimes is nonexistent but
sometimes borders on intrusive, this would be about the best audience recording ever.
The sound is just amazingly powerful and clear, like the Dublin LoveTown shows, only this is
an audience recordings. I think it's a bit better than the other bootlegs, but not that much.
Considering the source though, it's nice to have. No flaws to speak of other than above, and
that some crowd noise (as on the bootlegs) seems to be edited out (unless it's just a fade where
the recording stopped briefly), but no songs are missing. If you have no other recording of this
show, or really love it, not a bad item to trade for."
## Additional Notes from B!gGiRL (2015):
"Unlikely to me that the master has been a DAT considering the amount of so-called "white"
noise, and the similarity with the MvdV recordings of January 6 & 9. It must be noted here
that the latter was remastered for the Angel of Rotterdam bootleg and the former for
Rotterdam Lovetown, but it is my experience that the MvdV masters can easily be made
sounding just as clear as this gem of the 10th. It is sheer speculation, then, but I would
guess that this recording from the last night of the tour was also made by MvdV.
Considering the fact that we're dealing with some copy of the master anyway, it seemed
fairy unproblematic to remove some of the (white) noise with a generic setting from
PristineSounds. (It would be another thing, in my opinion, when the original master was
concerned - Let's hope it will surface one day!).
Another remark is that there is also some dead air between AOH and WLCTT. Luckily it
turned out only to be a bad edit, as the first bars of WLCTT are repetitive (and thus easily fixed).
^^source: Collectormania 4 (Spring 1991), p. 24.
Thanks again! This is one of the best concerts in U2's career and I'm sure you did (or are doing?) a fantastic job trying to get the most of the excellent audio recordings we already had. 
