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Beginnings Original recording reissued, Original recording remastered


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Audio CD, Original recording reissued, Original recording remastered, October 14, 1997
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Product Details

  • Audio CD (October 14, 1997)
  • Number of Discs: 1
  • Format: Original recording reissued, Original recording remastered
  • Label: Mercury
  • ASIN: B000003CMA
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (74 customer reviews)
  • Amazon Best Sellers Rank: #8,674 in Music (See Top 100 in Music)

1. Don't Want You No More
2. It's Not My Cross To Bear
3. Black Hearted Woman
4. Trouble No More
5. Every Hungry Woman
6. Dreams
7. Whipping Post
8. Revival
9. Don't Keep Me Wonderin'
10. Midnight Rider
11. In Memory Of Elizabeth Reed
12. Hoochie Coochie Man
13. Please Call Home
14. Leave My Blues At Home

Editorial Reviews

Product Description

Amazon.com

For once, a record label actually gives us more bang for the buck, combining two indisputable classics--1969's self-titled debut and the 1970 follow-up Idlewild South--onto one glorious CD. Five urgent notes kick off Spencer Davis's "Don't Want You No More," and by the time that searing instrumental morphs into Gregg Allman's superb slow blues "It's Not My Cross to Bear," it's clear these Georgians mean business. Everyone talks of the Muddy Waters and Willie Dixon covers, the furious twin leads of Duane and Dickey Betts, Gregg's soulful voice and formidable organ, the percussion attack of Jaimoe and Butch Trucks, but what about the songwriting skills? Just start with "Cross to Bear," "Whipping Post," "Dreams," "Revival," "Elizabeth Reed"--are you kidding? These two records blend gritty blues, Southern soul, and psychedelic rock into an exciting creation, and they serve notice: the Allmans will contend for the title of best American rock & roll band. --Marc Greilsamer

Customer Reviews

The first half of the CD is the original "Allman Brothers Band" album.
Tony Howard
What does this have to do with the review, its about what music is, something good, something different to each and everyone or sometimes the same who knows.
B. Page
This band is the tightest, most innovative and creative southern rock band of all time, and this album is just the beginning.
bgaarder@hotmail.com

Most Helpful Customer Reviews

88 of 90 people found the following review helpful By John Alapick on August 15, 2003
Format: Audio CD
Beginnings 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.
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55 of 58 people found the following review helpful By Rock fan on January 3, 2009
Format: Audio CD
I purchased this in the hopes that these remastered versions would yield a significant sonic improvement over the poor quality earlier versions of the first two ABB albums on CD that I already owned.

What I wasn't expecting was that the contents of the first album have been remixed here. (Idlewild South does not appear to have been remixed.) The albums themselves are both five stars in my book. However, I must "ding" this release at least one star for being a remix but not advertised as such.

Among the differences between the original "ABB mix" and the "Beginnings mix" are:
--Intro to "Every Hungry Woman": Original mix has the guitar in the left channel and a faint hi-hat pedal stomp counting out the beat in the right. The remix has the guitar more or less centered, and the hi-hat deleted.
--End of "Whipping Post" fades out in the remix, as opposed to a "cold" end in the original mix. The fade out cuts off the snare drum shots that close out the original mix.
--On several tracks, bass guitar has been moved from center to the left channel and increased substantially. This mimics the approach used on several "Idlewild South" tracks, suggesting that this remix may have been an attempt to apply the "Idlewild South" mixing strategy and lessons learned to the "ABB" session tapes.
--On several tracks, especially where two lead guitar parts play note-for-note harmonies, the positions of the two guitars (one panned 100% left, the other panned 100% right) have been reversed in the remix, while drums and percussion have their positions unchanged (e.g maraccas panned 100% left).
--Vocals in the remix tend to seem a bit "cleaner" and more forward as opposed to the original mix.
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10 of 10 people found the following review helpful By Amazon Customer on May 25, 2000
Format: Audio CD
The first seven songs are sheer ecstasy, representing an unbroken string of excellence in every note. "Dreams" probably saved my life, gave me the strength to cope with depression. It's long enough to never get airplay, so most of the listening world has never even heard it. Hell, every one of these songs is vastly superior to the standards the DJ's trot out whenever it's time for them to play an Allmans tune. "Beginnings" is on my list of 50 essential rock and roll albums. You should own it.
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11 of 12 people found the following review helpful By Mitchell Lopate on December 4, 2003
Format: Audio CD
"Don't Want You No More" starts out with the searing, up-front statement that would characterize the band's future work. The twin guitar leads roar out a dramatic opening, and are followed by blazing organ, crashing drum/cymbals. Then it's Duane's turn: he steps up to belt out a dynamic riff. The band regroups again for another pass at the opening theme, Dickey then hammers a reply to Duane, and everyone simmers down into "It's Not My Cross to Bear." Gregg's vocals are steamed raw, and his torment and despair are left standing bare and alone as Duane wraps another solo around the framework of Gregg's vocals.
"Black Hearted Woman" rocks along with Gregg's angry lyrics and guitar solos that skip boisterously ahead of the rest of the band. "Trouble No More," their studio version of Muddy Waters's song, shuffles and hesitates while Duane shows his slide guitar call-and-reply style against Gregg's vocals. "Every Hungry Woman" opens with a gust of guitar and B-3 Hammond organ layering the track, and Gregg's accusing comments and voice are painted with cynicism and contempt.
"Dreams" is one of the band's masterpieces, as Duane mixes slide and lead guitar. The drummers coil and release with refrained shots of snare drum and cymbal rides, and Gregg's organ takes the song to a hazy, etheric state. His grievous, intense singing provides the setting for Duane's soaring, spiraling solo. Skydog's mid-way switch to bottleneck lifts the piece right out of the stratosphere, and sets up the infamous, earth-shattering "Whipping Post." Berry starts off with dark and frightening warfare bass lines, the band reaches a frenzy behind Gregg's confrontation of his misery, and the guitars ring out their defiance.
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