Posts Tagged ‘Macon’

The ALLMAN BROTHERS BAND – ” The First Five Albums “

Posted: June 19, 2019 in CLASSIC ALBUMS, MUSIC
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The Allman Brothers Band an American rock band formed in Macon, Georgia, in 1969 by brothers Duane Allman (founder, slide guitar and lead guitar) and Gregg Allman (vocals, keyboards, songwriting), as well as Dickey Betts (lead guitar, vocals, songwriting), Berry Oakley (bass guitar), Butch Trucks (drums), and Jai Johanny “Jaimoe” Johanson (drums). The band incorporated elements of blues, jazz, and country music, and their live shows featured jam band-style improvisation and instrumentals.

The group’s first two studio releases, The Allman Brothers Band (1969) and Idlewild South (1970) (both released by Capricorn Records), stalled commercially, but their 1971 live release, At Fillmore East, represented an artistic and commercial breakthrough. The album features extended renderings of their songs “In Memory of Elizabeth Reed”, “You Don’t Love Me” and “Whipping Post”, and is considered among one of the best live albums ever made.

Group leader Duane Allman was killed in a motorcycle accident later that year – on October 29th, 1971, and the band dedicated Eat a Peach (1972) to his memory, a dual studio/live album that cemented the band’s popularity and featured Gregg Allman’s “Melissa” and Dickey Betts’s “Blue Sky”. Following the motorcycling death of bassist Berry Oakley exactly one year and 13 days later on November 11th, 1972, the group recruited keyboardist Chuck Leavell and bassist Lamar Williams for 1973’s Brothers and Sisters.This album included Betts’s hit single “Ramblin’ Man”. These tunes went on to become classic rock radio staples, and placed the group at the forefront of 1970s rock music.

Their career began slowly, before At Fillmore East finally showed what the band could do. A wonder of power, precision and improvisational genius, the album changed the Allman Brothers Band’s profile forever.

In fact, the Allman Brothers Band scored their first and only ever No. 1 hit in the years following that tragedy. But 1973’s Brothers and Sisters was also their last platinum-selling project. The group broke up once, got back together and then began a lengthy hiatus in the early ’80s.

The Allman Brothers Band - The Allman Brothers Band

The Allman Brothers Band (1969): 

This might be the best debut album ever delivered by an American blues band, a bold, powerful, hard-edged, soulful essay in electric blues with a native Southern ambience. Some lingering elements of the psychedelic era then drawing to a close can be found in “Dreams,” along with the template for the group’s on-stage workouts with “Whipping Post,” and a solid cover of Muddy Waters’ “Trouble No More.” There isn’t a bad song here, and only the fact that the group did even better the next time out keeps this from getting the highest possible rating.

The group’s most overtly jazz-influenced song “Dreams” was part of a long string of early compositions Gregg Allman offered his fledgling bandmates . In fact, he was a dozen songs in before the Allman Brothers band decided “Dreams” would work. Unusually, Gregg Allman composed the song on the Hammond organ, instead of the preferred guitar or piano. Drummer Jai Johanny “Jaimoe” Johanson’s library of old jazz records helped shape their approach, as they turned Allman’s blues haiku into a waltz-time meditation that traced the same musical lines as “All Blues” from Miles Davis’ groundbreaking Kind of Blue.

“When we were first putting a group together,” Duane Allman once said, “we were listening to Jefferson Airplane and the [Grateful] Dead’s records. We were all kicking around down South, buying records out of the Kmart and taking them home and digging them. And [Jaimoe] comes along and says, ‘Well that’s cool  good, but check out what I got over here, this collection.’ They just turned us all around. We heard with them cats were doing. Knocked us out.” “Dreams” is also the rare classic-era Allmans song featuring just one guitarist, as Duane offered a pair of brilliant solos over the band’s two-chord vamp.

The Allman Brothers Band - Idlewild South

Idlewild South (1970)

If you’re going to listen to the Allman Brothers, make sure you have the first four records. The band made The Allman Brothers Band, Idlewild South, At Fillmore East, and three-fourths of Eat a Peach with its original lineup, before Duane Allman’s fatal motorcycle accident in 1971. The Tom Dowd-produced Idlewild South, their second album, comes off with a little less ferocity than their debut which is perhaps the result of reaching for new sounds the second time around. “Revival,” the album’s opener, introduces Dickey Betts as a composer. The countrified flavor of his songs gives an indication of where the band will head in the post-Duane era. Betts’ other contribution to Idlewild South is the instrumental “In Memory of Elizabeth Reed,” a centerpiece of the Fillmore East recordings. Gregg’s “Please Call Home” and “Midnight Rider” are built around piano and acoustic guitar, respectively, and have a different feel than the band’s usual twin Les Paul-and-Hammond sound. That sound is showcased in the balance of Gregg’s tunes, however: the funky blues of “Don’t Keep Me Wonderin'” (with Thom Doucette on harmonica) and “Leave My Blues at Home.” The album is also notable for the rollicking version of Willie Dixon’s “Hoochie Coochie Man,” with the only vocal bassist Berry Oakley (who died in a motorcycle accident one year after Duane) ever recorded with the group. Though overall it packs less punch than The Allman Brothers Band, Idlewild South is all the more impressive for its mixture of chunky grooves and sophisticated textures.

The first in a string of strikingly inventive instrumentals from Dickey Betts, “In Memory of Elizabeth Reed” quickly became one the group’s most recognizable songs. Betts was inspired by a doomed romance with a woman whom he was secretly meeting in a local graveyard. The guitarist liked to go there to compose, and that’s where he saw a headstone bearing the title of this moving, minor-key song. Betts had actually been playing in the same style for some time, working in a symbiotic fashion with the Allmans‘ late original bassist. “Berry Oakley and I inspired each other’s improvisational creativity while we were in Second Coming, the band that presaged the Allman Brothers,” Betts later told Guitar World. “One of our favorite things to do was to jam in minor keys, experimenting freely with the sounds of different minor modes. We allowed our ears to guide us, and this type of jamming served to inspire the writing of songs like ‘In Memory of Elizabeth Reed.'” The track is driven by these brilliantly harmonized guitar lines, a sound that came to define the Allman Brothers Band. Betts’ interest in that approach didn’t come from listening to jazz, but instead to the Western swing of Bob Wills. By the way, he wrote “Blue Sky” in the same cemetery.

The Allman Brothers Band - At Fillmore East

At Fillmore East (1971)

Whereas most great live rock albums are about energy, At Fillmore East is like a great live jazz session, where the pleasure comes from the musicians’ interaction and playing. The great thing about that is, the original album that brought the Allmans so much acclaim is as notable for its clever studio editing as it is for its performances. Producer Tom Dowd skillfully trimmed some of the performances down to relatively concise running time (edits later restored on the double-disc set The Fillmore Concerts), at times condensing several performances into one track. Far from being a sacrilege, this tactic helps present the Allmans in their best light, since even if the music isn’t necessarily concise (three tracks run over ten minutes, with two in the 20-minute range), it does showcase the group’s terrific instrumental interplay, letting each member (but particularly guitarist Duane and keyboardist/vocalist Gregg) shine. Even after the release of the unedited concerts, this original double album remains the pinnacle of the Allmans and Southern rock at its most elastic, bluesy, and jazzy.

“Whipping Post,” like “In Memory of Elizabeth Reed,” had been earlier featured on Allman Brothers Band studio recordings but both found new meaning in this live setting. In fact, the 23-minute take from At Fillmore East is not only the definitive version, it’s the moment when Gregg Allman’s composing genius is confirmed. Still, this is truly a band triumph. Oakley completely rearranged the song which started out as another slow blues – into an unusual 11/8 meter that provides plenty of musical space for his bandmates to fill.

Dickey Betts and Duane then soar through another ribbon of harmonized, totally off-the-cuff guitar lines. (At one point late in the proceedings, Betts impishly quotes the children’s song “Frere Jacques.”) “We have rough arrangements, layouts of the songs, and then the solos are entirely up to each member of the band,” Duane once explained. “The naturalness of a spur-of-the-moment type of thing is what I consider the most valuable asset of our band.” And perhaps nowhere more so than on “Whipping Post,” which – quite fittingly – took up the entire closing side of the original Fillmore East vinyl release.

The Allman Brothers Band - Eat a Peach

‘Eat a Peach’ (1972): “Ain’t Wastin’ Time No More”

Inspired by the tragic death of his brother, Gregg Allman’s album-opening “Ain’t Wastin’ Time No More” offered a sturdy paean to perseverance. Betts – who Duane once praised by saying, “I’m the famous guitar player, but Dickey is the good one” seemed to be of a similar mindset as he stepped in on Allman’s preferred slide. The idea on Eat a Peach was to mix newly recorded songs like this one with some of Duane’s final recordings, making it both tribute and last testament to his genius. And for awhile, it sustained his heartbroken bandmates. “The music brought life back to us all,” Gregg said in his 2012 autobiography My Cross to Bear, “and it was simultaneously realized by every one of us. We found strength, vitality, newness, reason and belonging as we worked on finishing Eat a Peach.” Still, the prospect of touring nearly broke the band. Ultimately, they decided to go out as a five-piece. No one could replace Duane. Gregg and Oakley introduced the songs, which had also been his role. “We were playing for him,” drummer Butch Trucks said in One Way Out: The Inside History of the Allman Brothers Band, “and that was the way to be closest to him.” Oakley, who never got over the loss, died in a similar motorcycle crash a year later.

A tribute to the dearly departed Duane, Eat a Peach rambles through two albums, running through a side of new songs, recorded post-Duane, spending a full album on live cuts from the Fillmore East sessions, then offering a round of studio tracks Duane completed before his death. On the first side, they do suggest the mellowness of the Dickey Betts-led Brothers and Sisters, particularly on the lovely “Melissa,” and this stands in direct contrast with the monumental live cuts that dominate the album. They’re at the best on the punchier covers of “One Way Out” and “Trouble No More,” both proof of the group’s exceptional talents as a roadhouse blues-rock band, but Duane does get his needed showcase on “Mountain Jam,” a sprawling 33-minute jam that may feature a lot of great playing, but is certainly a little hard for anyone outside of diehards to sit through. Apart from that cut, the record showcases the Allmans at their peak, and it’s hard not to feel sad as the acoustic guitars of “Little Martha” conclude the record, since this tribute isn’t just heartfelt, it offers proof of Duane Allman’s immense talents and contribution to the band.

The Allman Brothers Band - Brothers and Sisters

Brothers and Sisters (1973)

Released a year after Eat a Peach, Brothers and Sisters shows off a leaner brand of musicianship, which, coupled with a pair of serious crowd-pleasers, “Ramblin’ Man” and “Jessica,” helped drive it to the top of the charts for a month and a half and to platinum record sales. This was the first album to feature the group’s new lineup, with Chuck Leavell on keyboards and Lamar Williams on bass, as well as Dickey Betts‘ emergence as a singer alongside Gregg Allman. The tracks appear on the album in the order in which they were recorded, and the first three, up through “Ramblin’ Man,” feature Berry Oakley their sound is rock-hard and crisp.

The subsequent songs with Williams have the bass buried in the mix, and an overall muddier sound. The interplay between Leavell and Betts is beautiful on some songs, and Betts‘ slide on “Pony Boy” is a dazzling showcase that surprised everybody. Despite its sales, Brothers and Sisters is not quite a classic album (although it was their best for the next 17 years), especially in the wake of the four that had appeared previously, but it served as a template for some killer stage performances, and it proved that the band could survive the deaths of two key members.

Dickey Betts had no intention of giving this country-rock gem to the Allman Brothers Band. But something about its searching narrative spoke to them in that moment. “I was going to send ‘Ramblin’ Man’ to Johnny Cash,” Betts told Guitar World. “I thought it was a great song for him. But everybody in our band liked that song.” Smart move: “Ramblin’ Man” became the only Allman Brothers Band single to reach the Billboard Top 10, streaking all the way to No. 2. The song also heralded a shift, both in leadership and musical style, toward Betts. The Allman Brothers Band somehow found a way to carry on, but not without help. Les Dudek guests on “Ramblin’ Man,” allowing the group to replicate their signature harmony leads. “We got into the studio and got into that big long jam at the end with all those guitar parts and everything, and we forgot about how country the song was,” Butch Trucks later said “then wouldn’t you know it — it becomes our only hit single.” That they would never be the same was reflected in the decision to expand their official lineup with pianist Chuck Leavell as a second soloist, rather than another guitarist. “Ramblin’ Man” was also the last song recorded with Berry Oakley.

  • The Allman Brothers Band (1969)
  • Idlewild South (1970)
  • At Fillmore East (1971)
  • Eat a Peach (1972)
  • Brothers and Sisters (1973)

OTIS REDDING – ” Dock Of The Bay “

Posted: May 25, 2018 in CLASSIC ALBUMS, MUSIC
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Dock of The Bay Sessions
Otis Redding was born in Macon, Georgia, on September 9, 1941. Macon is located near the center of Georgia, and today has a population of around 150,000 people. Despite being unremarkable, it was somehow the birthplace for three pillars of soul and rock ‘n’ roll—Little Richard, Otis Redding, and James Brown— and the Allman Brothers of the Allman Brothers Band.
Redding’s career started early. As a 19-year-old, he joined guitarist Johnny Jenkins’ band the Pinetoppers as a singer. The band toured the Chitlin Circuit, and Jenkins had a small, but devoted audience. In 1962, Redding drove Jenkins to Memphis, where the older singer had scored a recording date at Stax Studios, a nascent label taking on a variety of soul and R&B clients across the south in an effort to throw a bunch of singles and singers at the wall and see what stuck. Jenkins spent the better part of a day trying to record a couple songs, and didn’t do so well in that endeavor—most of the Stax house band (including Booker T. and the M.G.’s, and the Memphis Horns) begged off for the day by the time he finished, knowing there wasn’t a hit present. When there was time left on the session, someone and reports vary on this, though apparently Redding may have asked for himself suggested letting Jenkins’ driver cut a record. After failing as bad as Jenkins while trying to record a cover the band members that stayed remember being furious enough to want to leave themselves  Otis Redding sang his “These Arms of Mine,” and the rest was history. The band and label boss Jim Stewart heard and loved the song, released the single, and off Redding went.

The poster for Otis' missed show in Madison. It sells for hundreds of dollars.

His recording career only lasted 62 months, from October 1962 when he recorded “These Arms of Mine,” to December 1967. Here’s the math: Redding released five solo albums, one duets album, one live album, and 79 songs before his plane went down in Lake Monona. Four posthumous albums with 46 more songs followed over the next 31 months. Various compilations, live albums, rarities, and alternate takes have been unearthed since, but for all intents and purposes, that’s Otis Redding’s body of work. 11 albums, 125 songs in 62 months. The most famous of those songs is by far-and-away “(Sittin’ On) The Dock Of The Bay,” a song recorded in the studio three days before Redding died. It’s almost too on the nose, a too perfect swan song; a singer writes his career defining single, his own “A Change Is Gonna Come” or “Blowin’ In The Wind,” about worrying that the social change the ‘60s was seemingly bringing wouldn’t go far enough and help everyone, only to die in a plane crash before it was released. But that isn’t the whole story: Redding never considered the song “done;” he was worried it was too poppy, was considering adding the Staples Singers as backing vocalists, and hadn’t even properly recorded the now famous outro (the whistling you hear is Sam “Bluzman” Taylor), which might have just been a placeholder until Redding could add another verse.

In the summer of 1967, promoter Lou Adler and Mamas and the Papas member John Phillips had the radical idea to stage a concert at the Monterey County Fairgrounds in Monterey, California. This was before Woodstock, and before bands like Led Zeppelin were touring hockey arenas; the gigantic American festival infrastructure was more or less invented in order to pull off Monterey Pop Festival. Tickets ranged from $3 to $6.50, somewhere between 25,000 and 90,000 people came each day, and the lineup was meant to reflect a who’s who of young-people popular music: the Who—making their most major U.S. performance to date Jefferson Airplane (technically “the draw” of the fest), the Grateful Dead, and the Mamas and the Papas. But three artists more or less made their careers at Monterey Pop: Jimi Hendrix who memorably lit his guitar on fire and publicly executed every hotshot guitarist on earth Janis Joplin, and Otis Redding who closed out the fest’s second night, reportedly because some of the Airplane had seen him and didn’t want to try to follow him. And what’s more, Redding didn’t even want to perform at Monterey Pop. In 1967, Redding was making bank touring America, and had even started nurturing young artists on his own label. He successfully helped launch Arthur Conley, and was rumored to be a target for Atlantic Records, who would seek to to buy him out of his Stax contract and make him a mega star with their major dollars behind him. So, when his manager came to tell him he wanted him to play a pop festival with a bunch of white rock bands, and, furthermore, expected Redding to do it for free—like the other bands on the bill—he was reluctant. But the opportunity to perform to a crowd that was different than the typical one packing out his club dates was too good an opportunity to pass up.  Watching video of the performance released as part of Criterion Collection’s release of the documentary on Monterey Pop is like watching video of Picasso painting,  It’s his live masterpiece. He comes out and says “This is the love crowd, right?” and then goes into a straight take of “I’ve Been Loving You Too Long” before stopping and starting it in the middle; he has them eating out of his hand. He then did a soulful take of “Satisfaction.” You can’t watch the sweat fly off of Redding during this performance and not want to own every album and single, and not want to follow him into war.

It was a cold and foggy day in Cleveland, on December 10th, 1967. Redding and his band had played some shows at a club called Leo’s Casino the night before, and despite freezing rain across the Midwest, they never missed shows, so Redding and his band piled into the plane and headed to Madison, where they were due that night. Two of the band members always rode commercial since Redding’s plane only sat eight. They would find out about the crash at the Cleveland airport.

Around 3:25 p.m., four miles out from the Madison airport at Truax Field, the pilot radioed in to ask for permission to land. Sometime after that call, the plane came out of the clouds, and crashed into Lake Monona. Some residents living around the lake later claimed to have seen or heard the plane come in close to the ground. Police made it out to the wreckage relatively quickly; they were able to find trumpeter Ben Cauley who couldn’t swim shivering and holding onto a seat cushion. Police couldn’t search much that first day, because the water was so cold. They resumed their search after the sun came up on the 11th. They found the other seven passengers during that morning.

Otis Redding was officially pronounced dead on December 11th, 1967. His funeral was a week later, in Macon. Jerry Wexler, the Atlantic Records executive who was grooming Otis to become Atlantic’s next big star, gave the eulogy.

“Otis Redding was a natural prince,” Wexler said, according to Gould’s book. “When you were with him, he communicated love and a tremendous faith in human possibility, a promise that great and happy events were coming.”

“(Sittin’ On) The Dock of the Bay” would be released as a single less than a month later. It was Redding’s only number one hit.

The ALLMAN BROTHERS BAND – ” Live at the Atlanta International Pop Festival “3rd & 5th July 1970

Posted: July 30, 2017 in CLASSIC ALBUMS, MUSIC
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The Allman Brothers Band hit the ground running on their self-titled 1969 debut, and never stopped. That album was a fine blend of southern rock, gritty blues with a little jazz thrown in for good measure. The following year’s Idlewild South was even better, including such immediate classics as “Midnight Rider,” “In Memory of Elizabeth Reed” and “Please Call Home.” The band’s third release, 1971’s Live At Fillmore East, is often regarded as a pinnacle representation of the group’s collective talents, particularly the distinctive guitar interplay between Dicky Betts and Duane Allman.

However, in the summer of 1970, when The Allman’s were still a relatively unknown act outside of Macon Georgia, the band were booked to perform at the Atlanta International Pop Festival, an event which boasted an impressive list of musical luminaries, including BB King, Procol Harum, Johnny Winter and Jimi Hendrix.

Live at the Atlanta International Pop Festival captures two blistering sets recorded 3rd and 5th July 1970 and, if not quite as enthralling as their shows at the Fillmore East, then are certainly almost as good.

For the first time anywhere officially or not two (mostly) complete performances by The Allman Brothers Band at the Atlanta International Pop Festival over the Fourth of July weekend (they were the bookends of the fest) in 1970 have been issued with stellar sound, complete annotation and cool liner notes. The festival took place while The Allmans were in the process of recording their second album, Idlewild South , when they appeared on July 3rd as the hometown openers of the entire festival and proceeded to blow the minds of over 100,000 people — for their last set on July 5th at 3:50 a.m. they performed in front of as many as 500,000. Musically, other than a somewhat stiff version of “Statesboro Blues” the July 3rd set is magical. There is a stunning version of “Dreams” lasting almost ten minutes with beautiful Hammond/guitar interplay between Gregg and Dickey Betts . Long and ferocious versions of “Whipping Post” and “Mountain Jam” are here, but the track on the July 3rd set is Berry Oakley’s feral vocal read of Willie Dixon’s “Hoochie Coochie Man.”  A short (5:49) version of this song, it has a rock & roll immediacy that is strained out of the longer versions to gain the improvisational edge. Disc one also restores Gregg Allman’s “Every Hungry Woman,” to its rightful place previously only having been available on an anthology. Harp player Thom Doucette, no stranger to Allman Brothers fans , is here aplenty, adding his righteous, stinging harp lines to many tracks on both nights. The way Gregg’s organ playing is recorded here offers a new view of just how integral an anchor he was for both guitarists to play off. He is a monster musician and, even at this early date, was showing off his improvisational and rhythmic skills.

Packaged in a deluxe gatefold sleeve, with detailed liner notes, Live at the Atlanta International Pop Festival is essential listening for fans of the original classic line-up. Live At Fillmore might receive the majority of accolades, yet Atlanta shouldn’t be ignored. 150 minutes of pure, unadulterated blues-rock is never a bad thing.

The ALLMAN BROTHERS – ” Idlewild South “

Posted: November 14, 2015 in CLASSIC ALBUMS, MUSIC
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The Allman Brothers Band: Idlewild South: Super Deluxe Edition

September 23rd marked 45 years since the release of the Allman Brothers Band’s second studio album, “Idlewild South”, on Atco and Capricorn Records, which followed their 1969, self-titled debut. While that first album had little commercial success, the band’s relentless touring behind it led to a buzz that led Eric Clapton to enlist Duane Allman to take part on his 1970 Derek and the Dominos album which produced “Layla.” Produced by Tom Dowd, marking his first album with the band, Idlewild South was recorded in a variety of cities, including New York, Miami and Macon, GA, the band’s adopted home, because of their hectic performance schedule. Most of the songs, including two of their most iconic – Gregg Allman and Kim Payne’s “Midnight Rider” and Dickey Betts’ “In Memory of Elizabeth Reed” – were road-tested before they were ever recorded. The album’s title comes from the group’s name for the run-down, isolated hunting cabin the band used for rehearsals and partying. The farmhouse, which they rented for the princely sum of $165 a month, was located on a manmade lake outside Macon, and people came and went with such frequency, the band compared it to New York’s airport of the same name (later changed to John F. Kennedy International). Much of the material on the album was first created in that cabin, where the band’s “brotherhood came to pass,” according to Allmans roadie (and “Midnight Rider” co-writer) Kim Payne. The album didn’t sell well at first, but eventually peaked at #38 on Billboard, setting the stage for their 1971 breakthrough, At Fillmore East.

The additional tracks include session outtakes of “Statesboro Blues” and “One More Ride,” an alternate take of “In Memory of Elizabeth Reed,” an alternative mix of “Midnight Rider” and a mono single version of “Revival (Love Is Everywhere).” There are also nine tracks from the 1970 Live at Ludlow Garage album, remastered for the first time since 1990, including the previously unreleased song “In Memory of Elizabeth Reed” now making this concert recording complete for the first time.

Idlewild South has since gone on to become one of the Allman Brothers Band’s most iconic releases. Rolling Stone named it one of the “40 Most Groundbreaking Albums of All Time” in 2014: “The Allman Brothers transmogrified from mere blues-rockers to an assemblage creating an entirely new kind of Southern music.” Allmusic’s Bruce Eder called it “the best studio album in the group’s history, electric blues with an acoustic texture, virtuoso lead, slide and organ playing, and a killer selection of songs.”

Disc One:
1. Revival
2. Don’t Keep Me Wonderin’
3. Midnight Rider
4. In Memory of Elizabeth Reed
5. Hoochie Coochie Man
6. Please Call Home
7. Leave My Blues at Home
Additional Material:
8. Statesboro Blues (Session Outtake) – Previously Unreleased New Mix
9. In Memory Of Elizabeth Reed (Alternate Take) – Previously Unreleased
10. One More Ride (Session Outtake) – Previously Unreleased New Mix
11. Midnight Rider (Alternate Mix) – Previously Unreleased
12. Revival (Love Is Everywhere) (Mono Single Version)

Disc Two:
1. Dreams (Live at Ludlow Garage 1970)
2. Statesboro Blues (Live at Ludlow Garage 1970)
3. Trouble No More (Live at Ludlow Garage 1970)
4. Dimples (Live at Ludlow Garage 1970)
5. Every Hungry Woman (Live at Ludlow Garage 1970)
6. I’m Gonna Move To The Outskirts Of Town (Live at Ludlow Garage 1970)
7. Hoochie Coochie Man (Live at Ludlow Garage 1970)

Disc Three:
1. In Memory Of Elizabeth Reed (Live at Ludlow Garage 1970) – Previously Unreleased
2. Mountain Jam (Live at Ludlow Garage 1970)

Blu-Ray Pure Audio, 5.1 (96kHz 24-bit Surround & Stereo)
1. Revival
2. Don’t Keep Me Wonderin’
3. Midnight Rider
4. In Memory Of Elizabeth Reed
5. Hoochie Coochie Man
6. Please Call Home
7. Leave My Blues At Home
8. Statesboro Blues (Session Outtake)
9. In Memory Of Elizabeth Reed (Alternate Take)
10. One More Ride (Session Outtake)
11. Midnight Rider (Alternate Mix)