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The Dead never formally ploayed in Scranton again, allthough Bobby Phil aand the Other Ones have Graced my hometown plenty of times. This has always been one of the hardest shows to get on tape cd or any other format. Sadly I was only 4 years old when the Dead came to town this Particular evening. Google my name and find out what became of this 17 year old kid. Except I remember Me and Bobby McGee was dedicated to Janice and I did not hear it here. All I can is this recorded performance represents that night in perfect form. I walked backstage, not passes needed and no security at all.I got in a conversation with Pig Pen and he offered me a ride on the Greyhound bus to the highway on ramp.I was the last on the bus and dropped me off at the entrance of the highway so I could hitch home. The Dead came on and it is as represented here.The room was electric and they wailed.After the show it was late and I had to hitch back to my home in the mountains. The New Riders opened, Jerry played pedal steel on the entire set. The room was clowded with smoke of one kind. I got there early in the afternoon and bought a ticket at the door,general admission. I was 17 in the spring of 71 and lived in Greentown PA with a bunch of hippy folk like me, we called ourself FREAKS not hippies then! Nobody was into The Dead, they were more Pink Floyd types so I hitched to Scranton by myself. Truckin' is also too slow and needs +2% (so probably the same source as Railroad). The last three of the 1set Set are a tad slow and need +1%. The unknown.32015 has the best clarity and the low end has bass notes instead of thuds, with fewer frequency and volume fluctuations, but it has been compiled from variously pitched sources. SOURCES: The bertha-ashley.32077 has the mix corrected in many places and has better balance, but is boomy and too EQd in places. Good Lovin' - one of 71's best uptempo and a brief Darkness, Darkness
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I do like the roaring versions though and wish they'd have kept this tone and arrangement.īertha - Bobby and Phil focus on each other Overall, 4/71 isn't the tightest period for Uncle John's (and in general), especially compared to one year hence. Greatest Story is the early, '71 arrangement, played almost in transition, to a rager of a Johnny B. If you listen to the best one, on the 25th, you may wonder why it was dropped so fast. I Second that Emotion is the 2nd of only 7 (played only this tour) and is a great cover of the Smokey Robinson song. Yes, the pitch correction is upward - it's that uptempo. There's a brief, so-called Darkness, Darkness Jam (a quote of the Youngblood's song). It's uptempo and the monster jam is the heart of the show. The last two are the second highlight of the set. The latter's not a great one it's out of tune and they bail early. There's another cut in Big Railroad and some distortion in the recording of Playin'. At the ensemble level the playing is detailed - check how Phil and Bobby play off each other. By this point is was commonly a set-topper ( Skull Fuck wasn't out yet). Loser-SS isn't the later, power/arena version but has a good solo. The 2nd set is under an hour - not unusual for tours with the NRPS.įirst Set. But now we have much better qual available! It's a bit above average for '71 - you can find some worse shows and several better shows. Most of what was traded from the show during the B & P era was pitched too poorly to give proper attention. it was one of those shows that floated to the top for reasons of provenance, availability and, to some extent, playing (while others from Spring '71, like the brilliant 4/28 were overlooked, not in circ, or had poor sound). The show developed a reputation as a must-have, i.e. It was mainly part of the 2nd set that seemed to show up. The show used to circulate in pieces (or as filler) and no one trader seemed to have the whole show. They all had similar setlists (though the next night has a China>Rider, a Bird Song, and a Cryptical, and has a better first set). The tour both started and ended in NYC and included the Skull Fuck/Ladies & Gentlemen shows at Hammerstein Ballroom and the Fillmore E. This was the only time they played Scranton/Wilkes-Barre. They were so hardworking at the time, playing the whole region, 20 shows in 25 days: Lancaster, Pittsburgh, Lewisburg and Meadville. It was no big deal that they played at a CYO building it was the city's commonly-rented sports and events venue (the Lackawanna Student Center & Gym). Now it's the Wyoming Valley and the Scranton-Wilkes-Barre-Carbondale metro.