Laid Back Review

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Laid Back ReviewWebster's dictionary defines a masterpiece as "An artistic work done with consummate skill". Gregg's "Laid Back" certainly qualifies that definition. Almost as spectacular is the fact that this was his first solo effort. Blues imply melancholy and this album is loaded with it. What sets this music apart from others, is the cleansed feeling it gives you after it ends. It's as if you have been baptized in cool southern waters. "These Days", "Queen of Hearts", "Please Call Home", and "Multicolored Lady" are four of the best but don't miss the rest as this album has more "hits" than some artists collect in their entire career! After I first heard the lyric, "Please don't confront me with my failures, I'm aware of them" from "These Days", I have felt it typifies the mood Gregg was in and what blues was all about. This was released in 1973 but sounds as fresh today as it did then. This is the Gregg Allman I'll remember.Laid Back OverviewGregg's 1973 solo debut also became his biggest hit, a #13 LP featuring his Top 20 classic Midnight Rider . Remastered from the original master tapes!

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Beginnings Review

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Beginnings ReviewBeginnings is the first two Allman Brothers Band albums, their self-titled debut and Idlewild South on one disc. This collection is a masterpiece, not aging one moment since its release. Several of the tracks here are still album rock standards. It also shows the band's incredible diversity from the classic blues of their first album to their more acoustic and jazz roots on Idlewild South.
The first half of the disc begins with the jazzy instrumental "Don't Want You No More" featuring an excellent organ solo from Gregg Allman and a very tasty guitar solo from Duane Allman before flowing into the slow blues of "It's Not My Cross To Bear." Gregg's vocals are fantastic, already possessing one of the best blues voices ever, which is amazing considering he was just 21 when they recorded this album. This is clearly one of his best collections of songs as his compositions "Dreams" and "Whipping Post" have become blues classics with the latter taken to new heights on their live album At Fillmore East. The other tracks, "Every Hungry Woman", the percussion heavy "Black Hearted Woman", and their killer version of Muddy Waters' "Trouble No More" are all fantastic. The fact that they still play every one of these songs live attest to the excellent material here.
The second half of the disc is best known as the emergence of guitarist Dickey Betts as a composer. His two contributions are among his best work. "Revival" with its memorable melody and its hippie lyrics has become one of their most popular songs. The jazz instrumental "In Memory Of Elizabeth Reed" is perhaps the best instrumental track released in modern rock music. This track, written as a tribute to Miles Davis, also lead to Betts contributing several other instrumental tracks in their career such as "Jessica." The most popular track here is Gregg Allman's acoustic "Midnight Rider", which would become his biggest solo hit and has remained as one of their most enduring tracks. "Leave My Blues At Home" and their version of "Hoochie Coochie Man", sung by bassist Berry Oakley, are among their best blues tracks. The lesser known ballad "Please Call Home" and "Don't Keep Me Wonderin'" are also excellent tracks. The slide guitar playing of Duane Allman is among the best ever recorded and the aggressive drumming duo of Butch Trucks and Jai Johanny Johanson, now known as Jaimoe, only add to the intensity of this stunning collection. Highly recommended to all fans of blues and classic rock.Beginnings OverviewLimited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. 2007.--This text refers to an alternate Audio CD edition.

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Eat a Peach Review

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Eat a Peach ReviewReleased in February 1972, less than four months after Duane Allman's death, EAT A PEACH gathers together the final tracks laid down by the original Allman Brothers Band, the only studio documentation of the short-lived five-man, one-guitar ABB lineup and the remaining performances from the concerts which had yielded the epochal AT FILLMORE EAST album. Far from being a stereotypical posthumous odds and ends collection, however, EAT A PEACH is a treasure trove containing much of the Brothers' best work, and stands right beside FILLMORE at the very apex of their stupendous body of recordings.
Opening with the post-Duane tracks, EAT A PEACH demonstrates from its very first notes that there was - and is - far more to the ABB than one amazing guitarist. Brother Gregg's "Ain't Wastin' Time No More," though written before Duane's crash, is an effective and all-too-poignant rumination on uprushing mortality with excellent playing from the whole quintet. Dickey Betts, tossed into the unenviable position of sole guitar player in rock's most celebrated two-guitar band, more than holds his own here, contributing top-notch picking on every track - most notably his own thunderstorm instrumental, "Les Brers in A Minor," which starts out as a grinding tribute to amplification before morphing into a Santana-esque Latin funk workout liberally spiced with impressive displays of chops all around. "Melissa," a beautiful old ballad co-written by Gregg which the Brothers had first recorded with their previous group the Hourglass, is by contrast epitomally delicate and genuinely moving; Dickey's ethereal lead is a dream.
Next up: thirty-three minutes of "Mountain Jam," longest of the ABB's many long onstage workouts, the Duane-drenched final third of which is at least the equal of anything on FILLMORE and makes me wonder why that album wasn't simply released as a triple, with this LP-length track included, in the first place. Also recorded during the Fillmore East engagement, "One Way Out" and "Trouble No More," which the Brothers had first tackled on their 1969 debut album, are solid blues jams in the classic Allmans vein.
Finally, there are the last three studio tunes featuring Duane, which with fitting irony point to yet more new directions this band might well have explored had it only had the opportunity. "Stand Back," a bouncing number from Gregg, would've been equally at home on IDLEWILD SOUTH; but Dickey's sublime country ballad "Blue Sky," with its brilliant solos from both guitarists, and Duane's only ABB composition, the brief dobro/guitar duet "Little Martha," mine and master new territory and suggest that a more varied range of material, from an expanded group of songwriters, would have kept this band firmly at the front of the pack through all those gigs that might have been.
More than thirty years later, the original ABB's handful of recordings remain one of the great listening experiences to be had anywhere. EAT A PEACH and AT FILLMORE EAST are the very best of the great, which really leaves nothing to say.Eat a Peach OverviewNot the Remastered Version.--This text refers to an out of print or unavailable edition of this title.

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The Allman Brothers Band at Fillmore East Review

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The Allman Brothers Band at Fillmore East ReviewThe Allman Brothers were master musicians, everyone well agrees. They wrote good enough songs, but their studio albums are for the most part quite good but not spectacular. There are a few occasions when they open up instrumentally, like in "Mountain Jam," and within limits on some shorter songs, but basic song structures are more the thing. However, there was that time at Fillmore East...
The songs on this CD, only seven, were originally in an album released as a double LP. Two of the tracks were long enough to each take up an entire LP side. Gregg Allman on keyboards, Dickie Betts on guitar, Berry Oakley on bass, Butch Trucks and Jaimoe Jai Johanny on percussion, do they ever jam and solo. And a man named Duane Allman, on guitar. I sometimes wonder if you sat down 1,000 people who had never heard this CD, played it for them, and asked them afterward whether they think Duane was a mere mortal, would any vote yes? Actually, my case is more rudimentary. I need only listen to "In Memory Of Elizabeth Reed." I hold my breath when Gregg's shimmering organ following "Hot 'Lanta" introduces this incredible performance by Duane and the rest. When I mention my favorite Allman Brothers "song," I speak in terms of studio, saying "Jessica"--it is a wonderful instrumental, with good soloing, but within a basic structure. But this live version of "In Memory Of Elizabeth Reed" is a step beyond, into free-flowing improvisation that confounds one's sense of the limitations of what can be achieved in music. Can anything be described as less limited in comparison to this display of sheer instrumental genius?
This brilliant live album has had its praises sung for it over and over, but great albums can still be uneven, at least to a certain extent. In "Live at Fillmore East," there is only excellent and better, from the opening slides of Duane's guitar on "Statesboro Blues" to the tired breaths uttering "I'm dying" at the end of "Whipping Post." The latter and the other extended number, "You Don't Love Me," contain terrific long jams that slow down in tempo in their later parts and shift some gears, with even a little hamming. I enjoy a couple of really cool chugging guitar sections in the latter part of "You Don't Love Me." However, "Whipping Post" is superior--it is more absolutely breathtaking guitar work, by Duane and Dickie Betts. "Hot 'Lanta" has a great steady-driving motif providing a good base for fiery soling, and is also brilliant. "Storm Monday" is a slower, atmospheric number. Beginning with Gregg's glowing organ, this song radiates a gorgeous texture featuring organ glides and Betts' sweet guitar licks.
Duane had more successes before his unfortunate early death, including his masterful work on Layla in partnership with Eric Clapton. But this will always be his finest moment, as well as that of this legendary Southern Rock group. Did I say Southern Rock, which I generally do not care for? It is always emphasized that to a certain extent, the music here can be described as jazz and blues. Right, but I acknowledge its Southern Rock origins and feel as well. But who cares what you call it, just listen and enjoy the best display of musicianship ever to grace the world of rock music.The Allman Brothers Band at Fillmore East OverviewAnother double album (and a great one, too!) squeezed on to a single CD or cassette.

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Low Country Blues Review

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Low Country Blues ReviewIn the liner notes for "Low country blues", Robert Gordon writes "A river runs through the blues, and Gregg Allman continues to navigate it. This album deposits Gregg at a fresh place on the bank. He's a traveler, sometimes riding with the current, swimming upstream when he prefers".
This new release is proof of the success of Gregg's journey. When I received my copy of "Low country", I sat uninterrupted through all twelve tracks. Twice. Some musical projects are memorable for well written songs, thoughtful sequencing and great instrumentation. Others are so complete, so satisfying that you just don't want to listen to anything else for a while. "Low country" falls into the latter category.
Ace producer T-bone Burnett is also responsible for B.B. King's latest, the wonderful "One kind favor".That disc kicks off with a very dark version of Blind Lemon Jefferson's "See that my grave is kept clean". The opener for this disc, Sleepy John Estes' "Floating Bridge" is a song similar in format, but where "Favor" is a plea, "Bridge" is a bitter recollection. Both songs, and on both cds, the presence of Dr. John's masterful piano is as important as that of the stars.
"Little by little" is a Junior Wells staple that starts off with a funky B-3 intro by Gregg, then features more of the good Doctor with great guitar fills by Doyle Bramhall II. "Devil got my woman" shows Burnett's greatest strength as a roots music producer- the ability to take a Skip James song from the 1930's and remake it in 2011-without sacrificing any integrity. Gregg's vocals are almost ethereal, with dual guitar interplay between Bramhall and Colin Linden on Dobro.
"I can't be satisfied" is one of Muddy Waters' most beloved compositions, and Gregg and company do this song justice while showcasing the groove created by drummer Jay Belrose and bassist Dennis Crouch.
"Blind man" is the first appearance on the disc of trumpeter Darrell Leonard's horn section. Leonard has been recording for years with tenor sax player Joe Sublett as the Texacali Horns. Here they're augmented by Lester Lovitt and Daniel Fornero on trumpet with Thomas Peterson and Jim Thompson on baritone and tenor sax. The horns appear on five other tracks giving the disc a powerful classic r&b punch, especially on B.B. King's "Please accept my love".
The sole original on the disc, "Just another rider" was co-written with Gregg's partner in the Allman Brothers, guitar master Warren Haynes. Very reminiscent of another Allman/Haynes collaboration, "The high cost of low living"(from the Brothers' 2003 "Hittin' the note"), the song seems to address the same protagonist as the earlier track. On "High cost", Gregg admonishes "using up all your good friends" and on "Rider", you can almost see him shake his head as he sighs "seems like a long time- since you had any peace of mind".
"I believe I'll go back home" is an old public domain number with Mike Compton adding mandolin to the mix, while Magic Sam's "My love is your love"is enhanced by the beautiful female chorus arranged by Bill Maxwell. The closing traditional, "Rolling Stone" is one of the many highlights, again featuring Colin Linden's Dobro in a soft acoustic jam.
This fine recording belongs to T-bone as much as it does to Gregg. Production is excellent and choice of musicians couldn't be better. Gregg set out to make a recording he could be proud of. With "Low country blues", he just may have made the album of his life.Low Country Blues Overview

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