Posts Tagged ‘The Allman Brothers’

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The Allman Brothers Band was the simple introduction for the band on Friday 12th March 1971 at the Fillmore East in New York’s East Village. Duane’s slide guitar sets off and the sound of Blind Willie McTell’s ‘Statesboro Blues’ begins what is arguably the greatest live album in rock.

“At Fillmore East” was originally a double LP, recorded over both the Friday and Saturday night’s shows and captured the Allman Brothers at the peak of their powers. It was the band’s third release in three years and immediately proved successful, staying on the bestsellers list for almost a year.

Side one of the record was very much a blues work out as they follow ‘Statesboro Blues’ with Elmore James’s ‘Done Somebody Wrong’ and finish with T-Bone Walker’s ‘Stormy Monday’ their version is one of the most interesting and non-derivative of this often recorded number. Yet this first side gives little indication of what the remainder of the album is to be like. This is everything that is great about Southern rock, there’s jazz and even some Latin influences thrown in for good measure.

Allman Brothers Band’s ‘At Fillmore East’: Greatest Live Rock Album Ever?

Side 2 of the first LP is a cover of Willie Cobb’s ‘You Don’t Love Me,’ originally cut in 1960 for Mojo Records in Memphis and covered by a host of artists including Quicksilver Messenger Service and Mike Bloomfield, Al Kooper and Stephen Stills on their 1968 Super Session album.

‘Hot Lanta’ is a group work out based around guitarist Dicky Betts’ riff and it showcases Gregg Allman’s Hammond B3 as well as both Betts and Duane’s guitars. The second track, ‘In Memory Of Elizabeth Read,’ which Betts wrote for the band’s second album Idlewild South, begins with Betts’s guitar and he’s joined by Duane as they double the melody line creating what is such a trademark sound. As the number picks up it goes from jazz, with shades of Coltrane and Davis , to something akin to a Santana jam, but one always steeped in Southern rock image.

The last side of the LP is just one number, the monumental ‘Whipping Post,’ written by Gregg Allman. Originally a five-minute song from the band’s debut album, it’s lengthened here to over 23 minutes and it is immense. Driven along by the drumming of Jai Johanny ‘Jaimoe’ Johanson and Butch Trucks, this is what Southern rock is all about. Listen to it loud and you will be exhausted from the experience, nothing else recorded from this era of rock comes close to competing.

Various CD reissues have included additional tracks recorded over the two nights but it is the original album that is testament to the Allmans‘ greatness. It is a perfect album in every way…the greatest live rock album.

Epitaph: Tragically, just over seven months after the album was recorded, Duane Allman was killed while riding his motorcycle. Aside from his recordings with the Allman Brothers he of course worked with Eric Clapton on Layla and Other Assorted Love Songs, helping to create the magic of the title song. Bizarrely, Berry Oakley, the bass player on the Fillmore album also died in a motorcycle accident, a year after Duane’s death.

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Allman Brothers Band

On April 1st, one of the greatest shows from the Allman Brothers Band’s most incendiary year on stage — a live radio concert from A&R Studios in New York on August 26th, 1971, aired over the free-form FM station WPLJ — will finally be released in official form by the group’s own label, Peach Records. “Oh, man, I’ll never forget that one,” drummer Butch Trucks says when reminded of that broadcast, which came six months after the New York shows recorded for the iconic 1971 double LP At Fillmore East, has been long treasured by Allmans fans on bootleg and is now remixed for the first time from the original multi-track masters. “We were set up in that studio just like we did on stage,” Trucks says of the band, then in its original, classic formation: founding lead guitarist Duane Allman; his younger brother, organist-singer Gregg Allman; second lead guitarist Dickey Betts, original bassist Berry Oakley; and drummers Trucks and Jaimoe.

“But it was better,” Trucks goes on. “Rather than having their backs to me, the front line — Duane, Dickey and Berry — was facing us in kind of a semi-circle, which made it even easier to communicate. When I play, I stare at the left hand of whoever is playing lead. And I get to know what people are playing well enough that when they start going somewhere, once they arrive, I’m already there.”

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And on March 20th, Trucks will be back in Macon with a group called Les Brers — after the song “Les Brers in A Minor” on 1972’s Eat a Peach and derived from a Southern colloquialism for “brothers” — that includes Jaimoe, recent Allmans bassist Oteil Burbridge and percussionist Marc Quiñones and ex-Allmans guitarist Jack Pearson. “We are of the opinion that even though the Allman Brothers broke up, there is a void to be filled,” Trucks explains. “Whatever songs we write and play, it’s going to be coming from that direction, with a lot of improvisation and dynamics — and not knowing where you want to go next.

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“It’s the kind of thing the Allmans did all the time.” Trucks says. “It could turn into a total train wreck at times. But you don’t find new territory by not taking chances. If you’re afraid to dive off the cliff, you’ll never soar with the eagles.”

That was especially true at A&R Studios, when Duane took the occasion to pay tribute to a recently fallen idol: the R&B saxophonist King Curtis, who had played on many recording sessions with Duane and was murdered on his New York doorstep on August 13th, 1971, two weeks before the Allmans‘ broadcast. In an extensive, exclusive interview, Trucks explains how Duane turned his grieving into an epic-medley requiem of Willie Cobb’s 1960 blues “You Don’t Love Me” — an Allmans stage feature — with Curtis‘ 1964 instrumental “Soul Serenade.” Two months later, on October 29th, Duane — just out of rehab for drug addiction — died in a motorcycle accident in Macon, Georgia, the band’s hometown. He was 24.

The Allmans are also reissuing five previously released, vintage gigs through a new distribution deal, including two other, classic Duane-era shows at American University in Washington, D.C., in 1970 and at Stony Brook, New York, in 1971. Meanwhile, Trucks has been busy since the last version of the Allmans, with guitarists Warren Haynes and Derek Trucks, played its final concerts in October 2014. The drummer leads a group, the Freight Train Band, that features his son Vaylor on guitar — “He’s the little kid on the cover of [1973’s] Brothers and Sisters,” Butch notes — and Berry Oakley Jr. on bass.

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A great many Southern rock bands sure know how to rock, The Allman Brothers Band was unique in that they didn’t just rock, they actually made magic and in the years leading up to their 2014 split that magic was never more apparent than when we got the privilege to see them, no longer the long haired young men that began this journey . In 2011, the boys converged on Boston’s Orpheum Theater where in addition to their own impressive song catalog, they dusted off a cover of Van Morrison’s dreamy, ethereal “Into The Mystic” and to the crowd’s delight delivered it with that gorgeous, swampy feel that makes their own music so special.

Written in 1970 and featured on Van Morrison’s album “Moondance”, “Into The Mystic” becomes a swirling, sweeping extended jam as Warren Haynes pulls double duty on guitar and vocals, supported by the ever talented Derek Trucks on slide guitar as he makes this classic sing in a way we’ve never heard before. The real magic happens at 4:48 when Haynes and Trucks team up for a twin guitar solo attack that can only be described as spellbinding, making for an explosive ending that you’ve got to experience for yourselves.

Allman’s ‘Skydog’ Set Comes To Vinyl

Rounder’s widely-praised seven-CD box set of 2013, Skydog: The Duane Allman Retrospective, is to be released as a limited edition, 14 LP box set on 180 gram vinyl. Limited to 1000, individually numbered copies, it is available to pre-order here exclusively on PledgeMusic.

The link also includes an “unboxing” video where you can view the contents of a set that features a 56-page book, with rare and never-before-seen photos and essays by journalist Scott Schinder and Duane’s daughter, Galadrielle Allman.

Produced by Galadrielle and the esteemed reissue producer Bill Levenson, Skydog features all 129 tracks from the original CD edition, covering the full career of the late and much-revered guitarist. Early recordings with his brother Gregg, in such groups as the Escorts, Allman Joys and Hour Glass, are included alongside his studio work with such artists as Aretha Franklin, Wilson Pickett, Boz Scaggs, Clarence Carter, Arthur Conley and Delaney & Bonnie.

Also in the set are Allman’s sessions for such performers as Laura Nyro, Lulu and Doris Duke, several of his recordings with Derek and the Dominos and, of course, a generous selection of material by the Allman Brothers Band. A live jam session with the Grateful Dead also features.

Duane Allman

The acclaimed 2013 CD box set, Skydog: The Duane Allman Retrospective, was a critical and commercial success, chronicling the full breadth and depth of Allman’s music. This new, highly collectible edition will be a limited run of 1000 . Each individually-numbered box set includes 14 LPs, pressed on audiophile-quality, 180-gram vinyl, plus a 56-page book and features rare and new, never-before seen photos, with essays by journalist Scott Schinder and Duane’s daughter, Galadrielle.

Capricorn

On this day 12th March in 1971: The Allman Brothers Band played the first of two nights at the Fillmore East in New York, that were recorded & released as the group’s landmark, breakthrough, double live album, ‘At Fillmore East’ (Capricorn Records) – widely regarded as one of the best live recordings ever; Rolling Stone ranked it #49 on their list of ‘The 500 Greatest Albums of All Time’; the session was produced by Tom Dowd, who condensed the running time of various songs, occasionally even merging two performances into one track; it was one of 50 recordings chosen in 2004 by the Library of Congress to be added to the National Recording Registry…

At Fillmore East was the first live album by the American rock-blues band the Allman Brothers Band, and their third release overall. Produced by Tom Dowd, the album was released in July 1971 in the United States by Capricorn Records. As the title indicates, the recording took place at the New York City music venue Fillmore East, which was run by concert promoter Bill Graham. The release features the band performing extended jam versions of songs such as “Whipping Post” and “In Memory of Elizabeth Reed.” When first commercially released, it was issued as a double LP with just seven songs comprising four vinyl sides.

At Fillmore East was the band’s artistic and commercial breakthrough, and has been considered by some critics to be one of the greatest live albums in rock music.

At Fillmore East was recorded over two nights — March 12th and 13th, 1971 — for which the band was paid $1250 each show. The shows were typical performances for the band, and regarded as slightly above average by drummer Jai Johanny Johanson. Ads for the shows read: “Bill Graham Presents in New York  Johnny Winter And, Elvin Bishop Group, Extra Added Attraction: Allman Brothers. While Winter was billed as headliner, by the third night the Allman Brothers were closing the show.

Allman Brothers

Tom Dowd produced At Fillmore East; he had previously worked on their second studio album, Idlewild South. He had recently returned from Africa from working on Soul to Soul, and stayed in New York several days to oversee the live recording. “It was a good truck, with a 16-track machine and a great, tough-as-nails staff who took care of business,” recalled Dowd. He gave the staff suggestions and noted the band had two lead guitarists and two drummers, “which was unusual, and it took some foresight to properly capture the dynamics.” Things went smoothly until the band unexpectedly brought out saxophonist Rudolph “Juicy” Carter, an unknown horn player, and Thom Doucette on harmonica. “I was just hoping we could isolate them, so we could wipe them and use the songs, but they started playing and the horns were leaking all over everything, rendering the songs unusable,” said Dowd. He rushed to Duane during the break to tell him to cut the horn players; while Duane loved the players, he put up no fight with Dowd. The final show was delayed because of a bomb scare, and did not end until 6 am.

Each night following the shows, the musicians and Dowd would “grab some beers and sandwiches” and head to Manhattan‘s Atlantic Studios to go over the performances. Set lists for following shows were crafted by listening to the recordings and going over what they could keep and what they would need to capture once more. “We wanted to give ourselves plenty of times to do it because we didn’t want to go back and overdub anything, because then it wouldn’t have been a real live album,” said Gregg Allman, and in the end, the band only edited out Doucette’s harmonica when it didn’t fit. “That was our pinnacle,” said Dickey Betts later. “The Fillmore days are definitely the most cherished memories that I have. If you asked everybody in the band, they would probably say that.”

The Allman Brothers Band finished playing the two-night stand 45 years ago this month, March 12th-13th, that would become their classic album, Live at the Fillmore East. Produced by the great Tom Dowd, the double-LP set cemented the Duane Allman/Dickey Betts and Great Southern tag-team as one of the greatest guitar duos in rock history thanks to their daredevil performances on “Whipping Post,” “Statesboro Blues,” and “You Don’t Love Me”— all still part of the Southern jam/boogie repertoire.

Allman Brothers

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)

allman_brothers_bandThe Allman Brothers Band, released in 1969, was the debut album of the Allman Brothers Band.

In April 1969 the Allman Brothers Band moved from Jacksonville, Florida to Macon, Georgia. They first rented a house at 309 College Street. The front album cover photo was taken at the entrance of the College House (now owned by Mercer University) right next door at 315 College Street. The back cover photo of the album was taken at the Bond Tomb at Rose Hill Cemetery located at 1091 Riverside Drive in Macon. “Don’t Want You No More” is a cover of a 1967 song by The Spencer Davis Group.
“This might be the best debut album ever delivered by an American blues band, a bold, powerful, An 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” and “Whipping Post” in what became the basis for two of The Allman Brothers’ most famed epic concert numbers.
Plus a solid cover of Muddy Waters’ “Trouble No More.” There isn’t a bad song here, The Allman Brothers Band was recorded and mixed in two weeks,and recording was a positive experience for the ensemble.New York became regarded within the group as their “second home.The Allman Brothers Band saw release in November 1969 through Atco and Capricorn Records,but received a poor commercial response, selling less than 35,000 copies upon initial release.