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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Europe 72 Review

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Europe 72 ReviewThere are three seminal, essential live Grateful Dead albums, each a bit different, but each containing all the elements orf improvisation, multiple musical styles, and ensemble tightness that made the Dead so unique. These are Live Dead, Grateful Dead (Skull and Roses) and Europe 72. It is impossible to pick one over the other as *the best* of the officially released live Dead albums, and if I had to, I could live with no Dead albums other than these three, but I could not give up any one of them.

Europe 72 contains both some of the tightest compact versions of several Dead tunes, as well as some of the most ethereal extended jams. For those interested in the magic of what used to happen when everything just jelled exactly right, listen to Weir's unique idiosyncratic rhythm-lead solo between China Cat and I know you rider (yup - That's Bobby playing the lead). There are lots of examples of this jam on other live Dead recordings, but nowhere does the playing of all band members synergize in the segue as well as on this cut. Trucking-Prologue-Epilogue Morning Dew is basically one long piece of music. Epilogue gets really nice and jazzy and stretches things out like only the Dead could. Prologue merges into a Morning Dew that has a Bobby-Keith rhythm guitar/piano section that is so tight that even after listening to it for more than 30 years there are still parts where I can't tell if I am hearing Bobby or Keith. Jerry's vocals and lead are are stronger and more emotional on this than on any other Morning Dew available anywere. Europe 72 also features a wider range of styles from Jerry and the boys than either Live Dead or Skull and Roses, ranging from very countrified on Cumberland Blues to rock on One More Saturday Night to good old trademark Greatful Dead style everything but the kitchen sink on the long jams.
This is a great album. The new tracks are a nice feature, but not one of them is as strong as any of the originals (But Jerry's pedal steel on Looks' Like Rain is a nice touch). Still, this is one (of 3) Dead albums that is an absolute must for DeadHeads of all ages.Europe 72 OverviewBonus tracks: The Stranger (Two Souls in Communion); Looks Like Rain ; two versions of Good Lovin' ; two versions of Caution (Do Not Stop on Tracks) , and Who Do You Love .

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Already Free Review

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Already Free ReviewAfter releasing the tour de force album SONGLINES in 2006, I have eagerly awaited the follow up from the very talented Derek Trucks Band. While the newly released ALREADY FREE does not match the majesty of SONGLINES, it's still is a very good album by one of the best working bands out there.
To me, this album represents a tightening of their eclectic approach to music, no doubt trying to consolidate their fame as a great live group. ALREADY FREE focuses on the blues/soul side of the band at the expense jazz/world fusion side. While I miss the expansive jams that have highlighted their previous releases, the focus on songcraft and tight ensemble playing does not diminish the joy factor too much. Derek and the band provide a solid set of tunes in a swamp-funk blues style while expanding their songwriting chops and serving up some choice covers. My favorites include the opening semi-obscure Dylan tune DOWN IN THE FLOOD, BACK WHERE I STARTED which features a great vocal turn by Mrs. Trucks, Susan Tedeshi, GET WHAT YOU DESERVE and the slide guitar showcase I KNOW.Actually, all the songs are pretty good, to my ears, there's no real weak link here. The copy that I received also has 3 bonus tracks including a back porch blues called THE CHICKEN ROBBER SONG and a slow simmering instrumental SWAMP, another highlight. Throughout the album the band provides solid backing and provides good space for Trucks to solo. With all his chops, Trucks does not showboat as a soloist. He articulates his message short and sweet and always perfectly within the context of the song.
I hope that by taking a more conservative direction on this release that the DTB can gain some more well deserved recognition. I also hope that with that recognition that the band does on occasion revisit the wide ranging influences that have made their previous albums such a treat for music lovers. In the meantime, I'm sure I'll be getting plenty of listening pleasure from this one.
Already Free Overview

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Songlines Review

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Songlines ReviewDerek Trucks is one of the two or three most distinct and recognizable instrumental voices in popular music today. He's like Carlos Santana, in that he can toss in a 2-note lick and instantly you know its him.
This record is truly a "band" record. That might disappoint some, who were hoping to hear the songs as vehicles for Derek's extended shredding. Instead, the song is king, and Trucks uses his Jedi guitar is the service of the song.
Using Santana as a reference point, that makes this record more like Supernatural than Borboletta. Its easy to listen to, easy for the casual fan to get his or her ear around. "Revolution," for example, is as close to a radio-friendly single as Trucks has ever come. Yet the record is steeped in spirituality, in the healing power of music, and ulitimately the distinctions between the song and the jam seem to melt away into the sea of musical redemption.
The percussive work of Count M'Butu, enmeshed with drummer Yonrico Scott, gives the whole record a unified feel, a sort of World Music, African shimmy that ties together the middle-eastern-flavored numbers (the extended set piece, "Sahib Teri Bandi/Maki Madni"), the straight blues ("Crow Jane"), the R'n'B ("I Wish I Knew"), and the rockers ("Revolution.") The music hops genres, but the essential underpinning-- what the Aborigines thought of as "the labarynth of invisible pathways which meander all over Australia"-- is the deep network of "Songlines" that tie all the music together and lead to the heart. Trucks and company weave a magical web that revels in the interconnectedness of all things by embracing different musical forms and faces, connected at the root by these ancient, mystical songlines.
"Volunteer Slavery" serves as an incantation, a welcome into the record, flipping over into "I'll Find My Way;" here, vocalist Mike Mattison makes his entrance and establishes himself as a player to be reckoned with; Derek lays down his first significant solo about 4 minutes into the record, and its a quick hit-and-run. "Crow Jane," a jaunty 8-bar blues (a la "Key to the Highway"), starts as a bluesy call-and response between Derek's guitar and Mattison's vocals before the band kicks in.
"Sahib Teri Bandi/Maki Madni" is a segueing of two concert staples, 10 minutes of middle eastern vibe where Kofi Burbridge's flute steps to the fore to add color and texture. Derek takes several extended jaunts, and this is probably the piece on the album that most evokes the feel of the band's live performances.
"Chevrolet" is another blues, the rich percolation still present undrneath; "Sailing On" is a sweet melody that will bring a smile to your face; Mattison sings the hell out of it, Derek lays on the fire and ice. "Revolution" wants to be a million-selling duet with Santana; "I'd Rather Be Blind, Crippled and Crazy" is a percolating, funk of a shuffle, with bassist Todd Smalle laying down the groove, Derek's dobro slapping out twang over the top.
On "All I Do," the album begins its home stretch. "All I Do" is funked-up blue-eyed soul with a touch of church, and some of Derek's most inventive, jazzy playing on the record. "Mahjoun" is an instrumental track that harkens back to the opener, while charting a course for the two closing numbers, further on up the songline. "I Wish I Knew" is a soulful, joyous rave-up, almost gospel; Derek spatters a rainbow of joy across the sky on the outro.
The entrance of the closing "This Sky" is almost sacred, riding in the pocket where blues, jazz, soul, funk, and gospel flow together to become music of the heart. Derek's sublime play-out at the end puts the record to bed, Burbridge's flute providing a serene cushion, Mattison singing "Fly, fly away" in wistful tones as Derek's guitar does just that, gently ascending to the heavens.
At this point, you might be tempted to hit "play" again.Songlines OverviewSonglines, is the first new recording by The Derek Trucks Band in nearly four years, and the first studio album to feature the full-throated, impassioned vocals of newest DTB member, Mike Mattison. Songlines signals the DTB's arrival at a spiritual plateau after a decade long journey of musical discovery, and cements Trucks' reputation as one of the greatest guitarists of his generation. While Songlines embraces the group's big-eared love of rock, jazz, blues, latin and world music, it is unquestionably their most cohesive album to date. Columbia. 2006.

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Roadsongs Review

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Roadsongs ReviewTwo discs,48,58 minutes each approximately. The sound is very crisp and clean,with an almost "you are there" feel. The discs are slipped, bare, into a tri-fold cardboard holder, which has some interesting color photos inside, along with a pertinent quote from Eric Clapton about being on the road constantly. The booklet lists the song titles, and lengths. There's a short written piece by singer Mike Mattison on his first concert experience as a member of the band, playing live,and how blues music is the foundation of THE DEREK TRUCKS BAND. The remainder of the booklet is taken up with color photos of members of the band.
With this new release, the DEREK TRUCKS BAND proves that they are one of few bands that can deliver great live versions from their previous, bluesy, studio release "Already Free", combined with their take on a (lengthy) jazz classic "Afro Blue", the well known "Anyday" (DEREK AND THE DOMINOS), and the old blues warhorse "Key To The Highway" (among others), and inject them with their own sound. Songs like "Down In The Flood" (Dylan), "Days Is Almost Gone", and "Down Don't Bother Me", for example, are injected with the excitement of a live recording in front of an appreciative audience.Trucks and his band are capable of playing in virtually any genre of music they choose-from blues, gospel, rock, r&b, country, to world music, all combined into one broad style-and it's all here.
On this live set Trucks and his band (which range in age from their 20's to their 40's) show they have the skill, confidence, and depth to assimilate many styles of music and take that music (and the listener) in virtually any direction. Trucks, who came out of THE ALLMAN BROTHERS BAND, who had a penchant for improvisation, has that rare combination of technique, style, and soulfulness that elevates him into the upper echelons of guitar players. His playing with musicians like Eric Clapton and Warren Haynes has only deepened his approach to improvisation. He has continued to define his guitar tone, and whether picking single notes or playing full chords, his sound is rich and full. His slide playing is very warm, soulful, yet visceral, with an almost understated excitement.
The 2003 set "Live at Georgia Theatre" (now available for approximately $10), is a good comparison in defining Truck's tone and style. On this 2 CD set his sound is closer to Duane Allman's, with Trucks just beginning to step into his own style. The core band (as on "Roadsongs") members do their usual good job of holding/advancing everything together. Both of these sets are companion pieces when it comes to great live music from this band. If you haven't heard "Live at Georgia Theatre" (with great sound) you're missing some fine music.
The bands sound, which is a combination of razor sharp chops, and a relaxed, honest, organic approach is the perfect combination that seamlessly blends straightforward, no frills playing with several of the better tracks from their last album, with some newer live renditions of other songs. Throughout, the well thought out arrangements (with the inclusion of occasional horns), which constantly ebb and flow, keep the music fresh and interesting-along with the (sometimes subtle) always exciting playing of Trucks. The vocals, handled by Mike Mattison, allow Trucks to concentrate on his guitar playing and the direction of the music, which is vital when weaving seemingly disparate styles of music into one organic whole.
This live set is a continuation, a refinement of this bands sound. Trucks (and the band) continues to forge ahead in whatever direction the music takes them (and us), which is the hallmark of a band that's choosing to stretch the boundaries of music and not be satisfied with playing the same music in the same repetitive style. This group is one of few bands to play across and assimilate different genres of music, and weave them into an honest style all their own. So sit back and let this music take you where it will-you won't be sorry.Roadsongs Overview

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