Call me a cheapskate, but I wonder if it's possible to get only the CD. Two shirts, and a reflective sticker are more than I need. I have a very good recording of the show, so I'm reluctant to spend $50 for an interview, even though it's with Duane and Berry.
Billastro
Bill, is there sax on most of the songs on your 9/28 recording, as there is as mentioned on this release? If so is he mentioned by name at all - might help to clear up some of the ?s🤙 - good wknd to all
The Austin that's been in trading circles for probably 20+ years (and never been refuted as not from there or that date) is a fragment of a show, has just a barely audible sax on only one song as I recall. Very low in the mix. The widely traded Austin has just small parts of four songs and a complete version of One Way Out and Liz Reed only. It will be intriguing what, if any, documentation is presented with the release that it's from Austin. I may listen later and see if I hear sax on any other songs. It would seem a natural for Liz Reed.
"Is that a real poncho or is that a Sears poncho?"
@oldcoot This whole situation is getting curiouser and curiouser.
I got a CD with what was identified as 9/28/71 in Austin, Texas 20+ years ago from a friend I've lost contact with. It's a partial show with some filler from a different, anonymous gig. As far as I can tell there's no saxophone. Songs 7-10 are slightly lower pitch. Whoever put them together edited out the banter, etc. Here's what's on it:
9/28/71 Supposedly at Austin Municipal Auditorium
01 Statesboro Blues (partial) 01:25
02 Trouble No More 04?08
03 Done Somebody Wrong 02:12
04 One Way Out 05:31
05 In Memory of Elizabeth Reed 12:14
06 Hot ‘Lanta 02:12
07 Trouble No More 04:07
08 One Way Out 05:59
09 In Memory of Elizabeth Reed 11:27
10 Hot Lanta 02:12
Does this clear up, or add to, the confusion?
Billastro
Those first six tracks are what has been traded for years and years as Austin 9/28/71.
The carelessness and inaccuracies of past releases leads me to strongly believe the new release is not actually from Austin. Don't doubt the authenticity of the setlist, don't believe that the site is correct.
"Is that a real poncho or is that a Sears poncho?"
If there’s sax audible on just one of these 6 tracks, as was mentioned, that would seem to point toward this being a show other than 9/28
unless the long-traded version has been incorrectly labeled - no way of knowing for sure I suppose - it’s understand dates/venues getting mixed up, from that long ago✌️
If there’s sax audible on just one of these 6 tracks, as was mentioned, that would seem to point toward this being a show other than 9/28
unless the long-traded version has been incorrectly labeled - no way of knowing for sure I suppose - it’s understand dates/venues getting mixed up, from that long ago✌️
Why would the date of the long traded Austin show have to be wrong?
The number of songs with sax on them is irrelevant because the "traded" Austin has such short fragmented songs which if a full version was available, might raise the number. On the "traded" version, Statesboro is just 1:24, Done Somebody Wrong is 2:12 and Hot 'Lanta is just 2:29. Those are hardly substantial enough segments to know about whether a saxophone is present or not, with the exemption of HL which also appears to have saxophone.
Trouble No More is complete, without any horn. Same with One Way Out. Liz Reed is complete and that has just a bit of sax, very low in the mix near the very end of the song. Additionally, at the end of LR, there is some tuning going on during which Duane is asking the band what song should they play next. Duane is heard saying "Stormy Monday? Hot 'Lanta? Hot 'Lanta......then Stormy Monday." And as they then begin HL, he says "Hot 'Lanta gentlemen."
There does sound like sax is audible on the beginning of HL (again very low in the mix). So, that's two songs where's there's enough of the song to tell.
Also, that they segue into HL after ER, it illustrates the "traded" Austin is an entirely different show from what's being released, as the new release progresses from Liz Reed to S Monday to YDLM and then Hot 'Lanta.
That still doesn't mean the new release is necessarily from Austin.
"Is that a real poncho or is that a Sears poncho?"
Didn't say the date would Have to be wrong, just mentioned it as a possibility - thought the sax ? was relevant as it's listed on most of the upcoming release - as you said the songs are fragmented so there's no way to know
as was said, things getting curiouser & curiouser w/this one - it's new Duane/BO material, the sax puts a welcome spin on this release if indeed it comes as advertised
I love the ABB
@oldcoot This whole situation is getting curiouser and curiouser.
I got a CD with what was identified as 9/28/71 in Austin, Texas 20+ years ago from a friend I've lost contact with. It's a partial show with some filler from a different, anonymous gig. As far as I can tell there's no saxophone. Songs 7-10 are slightly lower pitch. Whoever put them together edited out the banter, etc. Here's what's on it:
9/28/71 Supposedly at Austin Municipal Auditorium
01 Statesboro Blues (partial) 01:25
02 Trouble No More 04?08
03 Done Somebody Wrong 02:12
04 One Way Out 05:31
05 In Memory of Elizabeth Reed 12:14
06 Hot ‘Lanta 02:12
07 Trouble No More 04:07
08 One Way Out 05:59
09 In Memory of Elizabeth Reed 11:27
10 Hot Lanta 02:12
Does this clear up, or add to, the confusion?
Billastro
The copy that I have of this show (which I got from KCJimmy years ago), has the same set list. However, I notice that both IMOERs seem to be the same. The first one has about 28 seconds of tuning at the beginning that the second one doesn't have. Both have the "Hot 'Lanta" banter at the end.
Also, both seem to have an unusual beginning because of what seems to be a late entry by Duane. I'm not as good as others about music analysis, because I find myself enjoying the music and forgetting about the analysis task. So, I'd be interested in what others think.
I did a fast check on post-concert newspaper write-ups, and the Austin American-Statesman (Austin's newspaper) archives are available through the Austin Public Library. However, you need an Austin library card to access online. Maybe someone in Austin can follow up?
From The Rag, Volume 5, issue 41, 10/4/1971
Both the Lee Michaels and the Allman Brothers concerts lost money at Municipal Auditorium, and I know why— Armadillo World Headquarters has so much better vibes...
ALLMAN BROTHERS by John Spence Ragphoto: Dana Mardaga
Joe said he was going to be gone for a while, but he'd be back for the Allman Bros. He said he would not miss them for anything. When I asked him why, he simply replied, "Because those guys have never let me down!" I sounded like Joe knew what he was talking about, so I got my ticket early. When the concert night came I was puzzled to find such a scarce turnout. Could Joe have steered me wrong? "He better not have," a friend said, "I took off work tonight for this." Cowboy, the warmup group, did alright, considering they had only played together a couple of times before. Then the hour of reckoning came. Excitement grew not only in me but in those around me. The Allman Bros, started playftg some of their well-known blues numbers only to stop to announce that the fire marshalls were going to stop the show if everyone didn't return to their seats and stop crowding the aisles. Duane Allman asked if we knew who the fire marshalls were—they're the guys who tried to be cops but couldn't make it! Then the band continued with a fantastic jam based on "In Memory of Elizabeth Reed," Dickie Betts' song, and Betts played long, sinuous lead lines. The band had a horn player with them, who didn't do much except on a couple of numbers when he played some Coltrane—like lines that fitted in perfectly with the peircing guitars and the thundering drums. When the Allmans were finished their audience wasn't. A massive ovation continued for about 10 minutes until our heroes returned for one last song, a rousing version of "People can you feel it, Love is everywhere," with the audience singing along. If it hadn't been for the crowd, they wouldn't have done that second encore, but as one of the drummers said, "after all that yelling, they deserve it." The only minor disappointment was that they didn't do "Whipping Post." After it was over I ran into Joe in the parking lot where he confirmed once again that "those guys never let me down." I agreed.
From The Rag, Volume 5, issue 41, 10/4/1971
Both the Lee Michaels and the Allman Brothers concerts lost money at Municipal Auditorium, and I know why— Armadillo World Headquarters has so much better vibes...
ALLMAN BROTHERS by John Spence Ragphoto: Dana Mardaga
Joe said he was going to be gone for a while, but he'd be back for the Allman Bros. He said he would not miss them for anything. When I asked him why, he simply replied, "Because those guys have never let me down!" I sounded like Joe knew what he was talking about, so I got my ticket early. When the concert night came I was puzzled to find such a scarce turnout. Could Joe have steered me wrong? "He better not have," a friend said, "I took off work tonight for this." Cowboy, the warmup group, did alright, considering they had only played together a couple of times before. Then the hour of reckoning came. Excitement grew not only in me but in those around me. The Allman Bros, started playftg some of their well-known blues numbers only to stop to announce that the fire marshalls were going to stop the show if everyone didn't return to their seats and stop crowding the aisles. Duane Allman asked if we knew who the fire marshalls were—they're the guys who tried to be cops but couldn't make it! Then the band continued with a fantastic jam based on "In Memory of Elizabeth Reed," Dickie Betts' song, and Betts played long, sinuous lead lines. The band had a horn player with them, who didn't do much except on a couple of numbers when he played some Coltrane—like lines that fitted in perfectly with the peircing guitars and the thundering drums. When the Allmans were finished their audience wasn't. A massive ovation continued for about 10 minutes until our heroes returned for one last song, a rousing version of "People can you feel it, Love is everywhere," with the audience singing along. If it hadn't been for the crowd, they wouldn't have done that second encore, but as one of the drummers said, "after all that yelling, they deserve it." The only minor disappointment was that they didn't do "Whipping Post." After it was over I ran into Joe in the parking lot where he confirmed once again that "those guys never let me down." I agreed.
Thanks very much crosseyedcat for finding that documentary evidence which undoubtedly proves the new release to be Austin 9/28/71 with Juicy Carter sitting in.
What this does mean is that the partial recording that has been traded for years as Austin 9/28 clearly isn't from that show as there are obvious differences in the playing ... I don't suppose now we will ever know where / when that is from.
it’s too early, am in the wrong thread :gohome:
Any insight to the audio quality?
Everyone has a plan, till you get punched in the face,
Any insight to the audio quality?
I believe it to be a soundboard recording
Thanks for the article! It seems like the second encore, Revival, is not on the set list track of the upcoming CD. I wonder why (taper shut down equipment, ran out of tape, other?).
Yeah mayb the tape just ran out a la Stormy Monday on the American U release - or he thought they wouldn’t come out for another encore & as you said packed up prematurely
great research crosseyedcat, so cool to see these loose ends get tied up - previous discussion of this sort also involved a sax player, when it was determined that the guy from Quill & not Juicy Carter, was on the 5/2/70 Swarthmore boot -
the recent process-of-elimination discussion that affixed the proper date of 5/2/71 to what had been labeled on the tapes as 5/31/71, also was really cool
that’s when I like this site the best- some real sleuths here alright - do people love this band or what - ups indeed - stoked about this new board release😎🙃
From what I have read here this release looks like it is only going to be available via ther Big House or Merch Mountain.
I only want the disc but having totted up postage and shipping it comes close to $45. Does anyone know if it could possibly get a small European releasae.
@peach-head I think it is unlikely Mike as the proceeds from the sales have to go to the Big House Museum ... like you, I was somewhat shocked to find that a $15 CD ends up being $45 with taxes / postage / import duty, but I decided I had to have it so have pre-ordered mine.
@stephen I can't take too much credit, I just went to my golden source of early ABB information, www.duaneallman.info, and found the information there. Finding Ted Deane, who occasionally played with Quill took a bit more research for the Swarthmore boot, but again that was just because Capt Skipper had remastered the tape and you could then work out what Duane was saying.
>>>You don't stab a club owner to death for deciding your show sucked so you don't get paid. You take him to court.
Recently read Kim Payne’s memoir and he has a different reason for the conflict and subsequent stabbing. I won’t spoil it in case others are intending to read the book
Not saying the friendly promoter should’ve been stabbed just saying.
@peach-head I think it is unlikely Mike as the proceeds from the sales have to go to the Big House Museum ... like you, I was somewhat shocked to find that a $15 CD ends up being $45 with taxes / postage / import duty, but I decided I had to have it so have pre-ordered mine.
Yes Colin, it looks like I will have to fork out the $45 for the pleasure. It's only money, we can't take it with us, and the kids would only spend it on rubbish when we are gone.
@peach-head I think it is unlikely Mike as the proceeds from the sales have to go to the Big House Museum ... like you, I was somewhat shocked to find that a $15 CD ends up being $45 with taxes / postage / import duty, but I decided I had to have it so have pre-ordered mine.
Yes Colin, it looks like I will have to fork out the $45 for the pleasure. It's only money, we can't take it with us, and the kids would only spend it on rubbish when we are gone.
Not wrong there Mike ... and one of / the only good thing to come out of the lock-downs due to covid is that I haven't been able to go to the pub so I have plenty of pocket money saved up for little treats like this.
For me in Europe it's impossible to buy this release.
1 CD $15 S&H $22 = $ 37 for 1 CD.
Of course my ABB friends also want to have this CD.
But if I buy 2 CD's $30 + S&H $47 + Import duty $ 30 = $107 for 2 CD's
1CD- T shirt Bundle $50 + S&H $ 51 + Import duty $ 35 = $ 136
I have to pass on this one until it will be available in Europe,
Cheers,
Martin
I’m not gonna pull the trigger this time ..... it might be time to just go pick one up in person 🙂
I now get stuff delivered to my friends’ house in the States .... the postage changes to $4 when you do that. I’ll just go pick it up someday. I have three parcels waiting there already.
@peach-head I think it is unlikely Mike as the proceeds from the sales have to go to the Big House Museum ... like you, I was somewhat shocked to find that a $15 CD ends up being $45 with taxes / postage / import duty, but I decided I had to have it so have pre-ordered mine.
Yes Colin, it looks like I will have to fork out the $45 for the pleasure. It's only money, we can't take it with us, and the kids would only spend it on rubbish when we are gone.
Not wrong there Mike ... and one of / the only good thing to come out of the lock-downs due to covid is that I haven't been able to go to the pub so I have plenty of pocket money saved up for little treats like this.
I know what you mean Colin, we have saved a fortune, which includes 2 cancelled holidays, 1 last year, 1 this year, so I will end up getting this disc on release. I have just shelled out 70 Quid for the super deluxe edition of Sabbaths Vol 4, so 32 Quid for a rare live ABB disc is a drop in the Atlantic Ocean so to speak.
For me in Europe it's impossible to buy this release.
1 CD $15 S&H $22 = $ 37 for 1 CD.
Of course my ABB friends also want to have this CD.But if I buy 2 CD's $30 + S&H $47 + Import duty $ 30 = $107 for 2 CD's
1CD- T shirt Bundle $50 + S&H $ 51 + Import duty $ 35 = $ 136
I have to pass on this one until it will be available in Europe,
Cheers,
Martin
Just curious: There's no import duty on your first option? And does it go up based on the amount of a purchase or something like that?
Everything in Moderation. Including Moderation.
Hello,
For merchandice below euro 22 we don't have to pay any import duty.
Cheers,
Martin
Do you pay import duty if someone sends you discs as a gift and puts used CD's on the declaration? I have had vendors use this when they sent me bootlegs and never paid a duty here in the US so was curious if this works in your country as well?
In the uk there’s a 8 pounds handling charge too - prohibitive
