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Over the Hills and To the Sea
ZooTV Los Angeles, California
12 April 1992
2. Zoo Station
3. The Fly
4. Even Better Than the Real Thing
5. Mysterious Ways
7. Until the End of the World
8. Who's Gonna Ride Your Wild Horses
9. Tryin' To Throw Your Arms Around the World
10. Angel of Harlem
11. Satellite of Love
2. All I Want is You
3. Bullet the Blue Sky
4. Running To Stand Still
5. Where the Streets Have No Name
6. I Still Haven't Found What I'm Looking For
8. Mirrorball Man Phone Call
9. Ultraviolet (Light My Way)
10. With Or Without You
11. Love Is Blindness
skip at 3:54 of "Bad"
NOTE: This recording was transferred to CDR from a first generation cassette of the master DAT. The sound quality is quite good...it's not often that a show that has taken this long to surface on CDR has sound above the "good audience" range. Having said that, I don't think that this recording will be mistaken for "Satellite From Stockholm" or other incredible audience bootlegs from this tour. The sound is not quite as crisp as other DAT recordings from the Zoo era. It's not muffled, but Bono's voice doesn't quite jump out at you either. Also, there are a few screaming women sitting near the taper. Their howls can be heard periodically....they are neither in the foreground nor in the background, but rather somewhere in the middle -- if that makes any sense!
I received this bootleg from Mike Duchek. Here are his comments:
I got this show from Mauricio Ferrusca, who lives in Mexico. He apparently made this from a metal tape he got made right from the taper's master (it pretty much has to be a DAT as it sounds, but he said that there was terrible hiss, so maybe it wasn't). After doing some remastering (he removed medium hiss and normalized to 92%). The result is an excellent sounding set. The sound quality and clarity are great, coming through only slightly muddy because of acoustics and position I'm sure (and a little hiss that is still present), but otherwise clearer than many great DAT transfers...The audience is not a problem, they are audible as a whole, as are a few distant individual screamers, but they do not take away from the recording at all, and cannot be heard talking or singing along individually at all. The mix is great, the recording has no static or volume problems, and other than the small hiss, just the audience and the show, which carries the typical indoor feel. All that is worth mentioning in terms of flaws are that several songs fade out at the end, maybe by Mauricio, where only crowd noise is, I don't think any of the show is lost.
The show itself is excellent. At this stage of the tour, things sounded pretty raw, with performances that carried a lot of energy. Bono talked about putting "Tryin' to Throw Your Arms..." together in L. A., which Larry introduces as about a man who goes out drinking and comes home to find he "can't get the key in the door." This show (night one of two in L.A.), previously very hard to find, has surfaced in a very nice sounding recording that will surely spread around in the future.
This is what Mauricio has on his site as what he does to remaster shows. Not all were necessarily used for this recording, he only mentioned noise reduction and normalization:
-Indexation (Tracks) ABSOLUTELY NO GAPS! NO CLICKS!
-Audio Enhancement (Crispness, Brightness, Loudness)
-Pentium III Processor PC
-Cool Edit 2000 Software
-Exact Audio Copy 0.9 Secure
-Creative SoundBlaster 128Bit sound card
-Creative 8/4/32 CD Burner
-Technics Professional Cassette Deck Headroom extension Dolby B/C
-Sony Professional CD Player 18-Bit Digital Filter 8 times oversampling
-Technics Professional Turntable (speed adjustable, belt drive)
-Pioneer Half Inch Reel Recorder
We do not have any download links available for this source. Submit if you do!
We couldn't find any high resolution photos for this show, do you have any?
"You don't think of Elvis as political, but that is politics: changing the way people see the world."
- Bono, tribute to Elvis Presley, 2004
did you know
The song 'I Fall Down' is about a girl Bono knew named Julie. She's the daughter of a wealthy lawyer in New York, who ended up moving to ireland and becoming involved in the same bible group U2 were in. She later became involved with Pod, a roadie for U2 at the time, the 'John' in the song.