- The Allman Brothers Band - Archival Series Vol. 1-5 (2002-2014)
Five-part mini-series, containing historic, archival live recordings from the original lineup of the The Allman Brothers Band, released on the band's own label The Allman Brothers Band
Archival Series Vol. 1 - American University, Washington, D.C. 12-13-1970 [2002]
1. Statesboro Blues 4:34
2. Trouble No More 3:49
3. Don't Keep Me Wonderin' 3:46
4. Leave My Blues at Home 6:45
5. Stormy Monday 5:03
6. You Don't Love Me 15:48
7. Whipping Post 20:40
Recorded live at American University on Sunday, December 12, 1970, at 7:30 and 10:30 PM. The CD is drawn from both shows, with tracks one through five from the second set and "You Don't Love Me' and "Whipping Post" from the first. The Allmans were at a crucial stage in their development on that December night, having just returned from shows at the Fillmore East in New York on a tour promoting their second album, Idlewild South. "Don't Keep Me Wonderin" and "Leave My Blues at Home" had just appeared on Idlewild South and this CD marks the first live version of them to be released by the Allmans. The playing is fierce, especially the interaction of Duane Allman and Dickey Betts, with a solid 20 plus minute version of "Whipping Post."
Archival Series Vol. 2 - S.U.N.Y. at Stonybrook, NY, 9/19/71 [2003]
1-1 Statesboro Blues 4:16
1-2 Trouble No More 4:00
1-3 Don't Keep Me Wondering 3:47
1-4 Done Somebody Wrong 3:54
1-5 One Way Out 5:08
1-6 Blue Sky 11:26
1-7 Stormy Monday 8:53
1-8 You Don't Love Me 25:47
2-1 Dreams 19:37
2-2 In Memory Of Elizabeth Reed 19:43
Recorded live at State University of New York on 9/19/71, just six weeks prior to Duane Allman s unly accidental death, this 2-CD set contains the only known quality live performance of Duane on Blue Sky , one of the pillars of the Brother s catalog.
The crowd that day at SUNY witnessed a band that was at the absolute height of spontaneous creativity, with music that ranged from loose, free-flowing jazz-like improvisation to whiskey-soaked blues, country swing to full blown rock - all of it delivered with a furious, right on the edge intensity. The band truly played as they lived, and lived as they played. With Duane Allman's searing slide and lead lines, the melodic brilliance of Dickey Betts, Berry Oakley playing bass like a third guitar, Gregg Allman's distinct vocals and soothing B-3, and the dual syncopated drumming of Jaimoe and Butch Trucks, the sum total of the Allman Brothers Band was greater than the considerable talents of its individual parts.
Five weeks later, while the band was back home in Macon, Georgia, 24 year old Duane Allman was killed in a motorcycle crash. His death on October 29th, 1971, cost rock music of one its greatest masters, while the Allman Brothers Band lost their founder and cornerstone. Although they would carry on and actually achieve their greatest commercial success without Duane, Stonybrook 9/19/71 features the Allman Brothers Band at their musical zenith before the circle was tragically broken.
Unlike the Grateful Dead, their obvious and acknowledged model for reissuing vintage live recordings, the Allman Brothers Band has not shied away from exploring their early work in an attempt to demonstrate that they were as good in 1980 and 1990 as they were in 1970. On the contrary, in such archival releases as 1991's Live at Ludlow Garage: 1970 (Polydor), 1996's Fillmore East, February 1970 (Grateful Dead), and the first release from their own Allman Brothers Band Recording Company, 2002's American University 12/13/70, the Allmans have made a point of sticking to their early years when the original band, led by slide guitarist Duane Allman, was still intact. Their purpose, as band members said in a front-page article in Billboard in April 2002 that announced the formation of their record company, is to demonstrate Duane Allman's prowess. This album, recorded a scant five weeks before the guitarist's death, furthers this goal. Annotator John Lynskey acknowledges that, also unlike the Dead, the Allmans did not vary their set list very much. 'The Allman Brothers might have played the same songs night after night' he admits, 'but they were never played the same way twice.' The album, which compiles material from two shows on the same night, backs up his assertion. The titles may be familiar, but the jamming is not, as the band explores different ways to approach the songs, including one that is still in development. 'Blue Sky', which would not appear on record until the group's next album, 'Eat a Peach', gets an 11-minute treatment that is a showcase for Duane Allman and Dickey Betts' guitar interaction. Six months after the legendary shows that produced their signature recording, At Fillmore East, and just before they changed forever with Duane Allman's death, this is the sound of the Allman Brothers Band at their peak.
Archival Series Vol. 3 - Macon City Auditorium 2-11-72 [2013]
Disc #1
1. Statesboro Blues [4:09]
2. Done Somebody Wrong [3:34]
3. Ain't Wastin' No More [4:15]
4. One Way Out [6:49]
5. Midnight Rider [2:55]
6. You Don't Love Me [21:37]
7. Stormy Monday [7:58]
8. Hoochie Coochie Man [4:40]
9. Hot 'Lanta [5:07]
Disc #2
1. Les Brers in A Minor [11:14]
2. Trouble No More [3:53]
3. Whipping Post [15:45]
In the 35 year existence of the Allman Brothers Band, the 11-month period of from November 1971, to the fall of 1972 - often referred to as the "Five-Man Band" era - is an extremely important, emotionally charged, and yet often overlooked chapter of ABB history. On October 29, 1971, the band lost its founder, spiritual leader, and guiding force when guitarist Duane Allman was killed in a motorcycle crash in Macon, Georgia. Words cannot describe the magnitude of devastation that hit the group, but the notion that the band might call it quits was quickly discounted - Duane would have wanted them to play on, so play on they did. Replacing Duane with another guitarist, however, was not an option, so the Allman Brothers decided to move forward as a quintet. They finished recording the studio album that they were working on at the of Duane's passing - subsequently entitled Eat a Peach - and produced three classic tracks; "Ain't Wastin' No More," "Melissa," and "Les Brers in A Minor."
Archival Series Vol. 4 - 1973-05-01 Nassau Coliseum [2013]
1-1 Intro 0:21
1-2 Wasted Words 4:58
1-3 Done Somebody Wrong 3:52
1-4 Statesboro Blues 4:15
1-5 One Way Out 7:42
1-6 Stormy Monday 8:46
1-7 Midnight Rider 3:13
1-8 Jessica 10:25
1-9 Come & Go Blues 4:58
1-10 Ramblin' Man 7:55
1-11 In Memory Of Elizabeth Reed 15:06
2-1 Trouble No More 4:02
2-2 You Don't Love Me 6:19
2-3 Les Brers In A Minor 19:12
2-4 Whipping Post 18:40
2-5 Mountain Jam 31:05
Two CD live archival release. This double disc set captures a phenomenal performance by the version of the Allman Brothers Band that recorded the classic album Brothers And Sisters. Rebounding from the tragic losses of Duane Allman and Berry Oakley, the ABB was once again hittin' the note in the spring of 1973, and Nassau Coliseum 5/1/73 captures this important snt of Allman Brothers history. This release harkens back to the when the ABB was commonly referred to as the "best damn band in the land," and is loaded throughout with incendiary performances. Play it often, and play it loud.
Archival Series Vol. 5 - Boston Common 1971-08-17 [2014]
1. Tuning 2:01
2. Statesboro Blues 4:43
3. Trouble No More 4:53
4. Don't Keep Me Wondering 4:14
5. You Don't Love Me - 26:08
6. Hoochie Coochie Man 5:36
7. In Memory of Elizabeth Reed 13:02
8. Whipping Post 18:48
Any from the original lineup of the Allman Brothers Band is great to hear, and their new Archive Series CD, Boston Common 8/17/71, is one you will listen to often, from the first note to the last! The band played in Boston many s in their early days, and it continues to be one of their favorite towns to perform. The ABB truly reached their first big peak in 1971, and this single-disc CD showcases the music they presented on the stage each night they went out. Along with some cool samplings of their stage banter are amazing versions of "You Don't Love Me," "In Memory of Elizabeth Reed," and a riveting and unusual "Whipping Post" that ends the show.
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