Customer Reviews

Capicorn Classics, The Allman Brothers Band at Fillmore East

5 star:		(185)
4 star:		(9)
3 star:		(5)
2 star:		(3)
1 star:		(2)

 

 

The 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.

I got this album strictly out of curiosity. I was always *afraid* of The Allman Brothers Band because I thought of them as some ordinary Southern rock band (WRONG WRONG WRONG!!!). But after seeing this album rank in the VH1 "100 Greatest Rock and Roll Albums" list, and hearing what was said about it, I figured I'd at least like it.

Talk about exceeding expectations! And having a life-altering experience! Let's just say that my dreams of being a guitar god or being part of a extraordinary team of players is pretty much out the window. These guys put those to rest. Their gifts are pure, natural, and out of this world. But I thank them for giving me this.

I can't say anything more than what's been said. It's absolutely brilliant, breathtaking, and entrancing for its full 1 hour, 18 minutes, and 36 seconds. It is the most amazing blend of rock, blues, and jazz I've ever heard. The musicianship here is probably unparalleled in the history of rock music. And these guys played with the improvisational genius and intensity of our greatest of jazzmen. IT'S THAT GOOD.

When kids today talk about "trance" music, they talk about dance music. I tell them that this kind of stuff is my trance music. I just put this gem on and I'm out of this world for 1 hour, 18 minutes, and 36 seconds.

You cannot have a rock collection and be without this. You just cannot. It would be like having a jazz collection without any Miles Davis.

I just wanted to share with the reader an additional testament to this fine recording. I have just recently bought my third copy (first in CD).

While fellow reviewers are correct in spotlighting the guitarists' (Duane Allman and Dicky Betts)artfulness and composure during these blazing, 20- to 40-minute cuts, and Gregg's wonderful vocals and organ undercurrents, the album contains absolutely bracing jams throughout the collection with the group as a whole. Each time I single out one cut as a favorite, subtle and timely flavors from an unexpected piece come suddenly through. The mood is always steady, purposeful and synchronized, and the listener --every time he or she returns to the double album set--is ready to go, and eagerly in it for the long-haul.

There is more to say about the bass and drum work of Jai Johnny Johannsen, Butch Trucks and Berry Oakley--basically they were the tightest rock and blues band I've ever heard, bar none, and they were physically able to keep up with the amazing rigors of Duane's sets--no small task.

The listener will hear, for instance, at the conclusion of the classic "Whipping Post"--ending after approximately 20 minutes (a full side!) of intense, all-out and spirited work by all members of the band--the sudden but expected lash of praise from the audience...and then just ONE BEAT later, just prior to 'fade out', we hear a very telling and wonderful pick on the master tape, a delightfully soft and warm riff from Duane's guitar, leading the band off and running into another jam. Amazingly, THAT little clip is the beginning of a much longer piece ( "Mountain Jam", his rendition of Donovan's hit), cut from the same live master, not released on this set, but later included on EAT A PEACH. This jam runs TWO sides on that release...sometimes I wonder if "Whipping Post" was more an allegory of exhausted band-members jamming to Duane on a roll than anything deeper or more introspective!

One terrific production effort by Tom Dowd (later a big cat at Atlantic Records) tops it off, making a wonderful series of nights at the old Fillmore East theatre more than a group of very memorable shows. These recordings are THE best live covers by any band before or since. They embrace and capture every nuance of the performances : the love of the musicians for their art, the spiritual ease with which they related and communicated with one another on stage, and the natural exuberance of the sell-out crowds, who were so appreciative to be in the building.

And I appreciate owning this album again. It is nothing short of a masterwork to me, with absolutely no short-comings, and has been a great companion throughout my life.

Legend has it that record producer Tom Dowd assured the Allman Brothers Band that they had all the material they needed for a top-flight live album after the third set of their four-set weekend at the Fillmore. So the boys went out for the final set feeling relaxed and confident and triumphant. And turned in one of the most blistering performances of their legendary career (most of which found its way onto this record).

That swaggering confidence is immediately evident in the opener, "Statesboro Blues." At the time the Allmans were clearly the best white blues players, and their respect for the blues comes through especially on their tasteful and restrained "Stormy Monday."

Their ambitious interpretation of "You Don't Love Me" ("Play all night!") and the jazzier sequence of "Hot Lanta" and "Elizabeth Reed" show their virtuosity. Duane Allman's solo in "Liz Reed" is one of the most breathtaking electric guitar playing ever recorded.

All that, and an historic 22-minute version of their greatest song, "Whipping Post."

Man, there is nothing that comes close to this record.

My great love for "Layla and other assorted love songs" and recognizing Duane's seminal role on that album finally led me to overcome my predjudice against "Southern Rock" and check out the Allman Brothers (whom I identified with "Ramblin' Man"). I've been listening to nothing but the first four albums for the last two weeks. That six young guys could embody such genius and passion and power is a complete mystery, especially seen from thirty years later. Right now I'm listening to Duane's first solo on "You Don't Love Me." It's like Coltrane or something. Only in this context would Dickie Bett's great solo work come off second best. Honestly, I think this album is on a par with "Kind of Blue" in terms of the power of both solo and ensemble work. Duane was in a class by himself, but each member of the band was incredibly creative. The drum solo on "Hot 'Lanta", the consistent quality of Duane's singing--perfect for the blues--the quality of the song writing.

Went to workout at the gym at the university where I teach and brought along this CD and persuaded the attendant to put in on. Pretty soon students, used to the rap and metal that is their present diet, started coming up to me and asking me about this amazing music. It felt great to be able to pass this on to the younger generation.

Save your money. It's shamefully sinful that one of the greatest live rock albums ever has been reissued with such total disregard for the form. AFE "deluxe" reissue--released by Mercury September 2003 & produced by Bill Levenson--can be
nearly unlistenable for those of us who have considered this set the holy grail of live albums. Here's the problem: Virtually every track is faded out, with no feel of "live" continuity. I nearly caused a traffic accident when "Trouble No More" was closing and the final notes were faded out! Then I quickly
scanned through the rest of both discs and found the same treatment throughout. This has got to be right up there with the worst reissuing SNAFUs of all time. Despite some criticism about the mix of the 1992 double-cd _The Fillmore Concerts_ or the edited-out crowd requests before "Whipping Post" (or was this an alternate version of the song?)or the composite version of "...Liz Reed", at least that set (which the new reissue

mirrors, adding only "Midnight Rider" and some slight resequencing) felt like a truly live experience from one of the greatest truly live bands. It's too bad because the recent remastering for "deluxe" (sic) does seem to capture the thunder and lightning of rock's tightest rhythm section better than most previous versions. Don't waste your money on the overpriced new one ($25-30) unless you're willing to edit, fix, and burn
your own "deluxe" version. And that won't be easy, either, because of the criminally quick fade-outs and fade-ins that the new set has suffered. Stick with: 1) Your original 1971 vinyl two-LP release, 2) the hard-to-find (and expensive) half-speed
master vinyl version, 3) the nearly as hard to find--but truest sounding of all--Mobile Fidelity Sound Lab double-cd, 4) the late-90s "Capricorn Classics" single-disc reissues of _At Fillmore East_ and _Eat a Peach_ or, 5) if you really need most of the songs from these Fillmore East shows in one set, _The Fillmore Concerts_ double disc. Better yet...since most of you probably have this in one form or another already, use the savings from this for gas and beer the next time the Brothers play near your town.

The Allman Brothers Band blended jazz, blues, and southern rock to create some of the finest rock ever recorded, and Live At The Filmore East is a testament of their powers.

The concert at Filmore East, NY in July '71 shows the Allmans playing tighter than any band before or since. There are three long improvisational pieces on here, all exceeding 10 minutes--You Don't Love Me, In Memory Of Elizabeth Reed, and an incredible 23-minute rendition of Whipping Post. None of them drag or feel overly long, and this is coming from a person that was raised on a steady diet of three-minute punk and radio rawk. So by that estimation, I can say that this album is VERY good. The rest of the album consists of blues jams (Statesboro Blues, Done Somebody Wrong) and blistering instrumentals (Stormy Monday, Hot 'Lanta). Duane and Dickey Betts lay down some of the best guitar performances ever, Gregg's vocals and piano work are great, and the two (!) drummers never let up for a second.

While this recording is great throughout, my favorite moment is toward the end of You Don't Love Me, where the band suddenly drops a few bars of "Joy To The World." It's another spark of brilliance in an album full of them.

Live At The Filmore East has few equals in the live album category. This one ranks up there with The Who's Live At Leeds, Jimi Hendrix's Band Of Gypsys, and The MC5's Kick Out The Jams as far as I'm concerned. If you love live classic rock, Live At The Filmore East is essential listening.

Probably the best live ablum ever. The first three songs are blues numbers. The rest are very long jams with heavy emphasis on the guitar duets. They are backed by an impressive rhythm section featuring two drummers. Even Greg Allman's organ solos are fairly impressive. Although this is considered the origins of Southern boogie, it is more of blues with a Southern flavor. Fans of the softer hits, Ramblin Man and Jessica, might not appreciate this.

If you considering picking this up, you might want to look at the "Fillmore Concerts" instead. It has everything here plus another whole CD worth of music. There are some slight differences between these two albums and some purists might argue that "Fillmore East" is the one to get since it is the original. The Purists should realize that there is really no original since "Fillmore East" was edited and patched together from several nights. But then again, most of the "new" stuff on the "Fillmore Concerts" can be found elsewhere. So, if you want a bargain go with this CD, if you want to spring for a 2 CD set that more closely matches one of the shows, then pickup the "Fillmore Concerts". It is kind of refreshing to hear a complete Mountain Jam after Whippin' Post, instead of the first 3 seconds.

Sorry folks, but I can't write an objective review of At Fillmore East because it has been my favorite album of all-time for three decades. I have owned this in one format or another since I bought the double LP for $6.98 in a Florida department store in 1972. Still today, it is the most listened to CD I own, and it just keeps getting better, year after year. The magic of the original Allman Brothers Band, the magic of the Fillmore East and the magic of rock music in the early 1970s are all captured on this album, and you get blues, rock and jazz in extended jams to take you on the magic carpet ride to get there. This is rock music in it's purest form. Nothing phony here; no studio tricks, overdubs or slick production. These are musicians "in the zone", so perfectly tuned in to each other that you can feel it in this music. These guys were playing for the love of music, each other and their audience, not for the love of money. Duane Allman, Gregg Allman, Dickey Betts, Berry Oakley, Butch Trucks and Jaimoe. It only happens once in a lifetime, and it's pure joy!

1971 - The Allman Bros. were in the process of rippin' the roofs off of every theater & college gym they visted. Some people got it, some people didn't. This record is truly the standard for which all live albums should be judged. This band was truly "on fire" during this period. Creatively, there was nothing like The Allman Bros; kick-... rock with jazz syncopation. Nobody did it then, and nobody's done it since. The late, great Duane Allman was out there soaring with riffs that were truly innovative. Melodic was their underlying theme that many bands never could grasp. Berry Oakley, on "lead bass" provided 1/3 of the driving rythym, the other 2/3's by Butch Trucks & Jai Johanny Johansen. Truly a rythym section whose chemistry has never been replicated since. Gregg's soulful B-3 & vocals provide, in many instances a gospel soul that cradles the music. Dickey Betts, as Duane's melodic partner provides a slightly harder-edged but stunning complement to Duane's playing. True magic is the result when their twin-lead interplay meanders, and then ultimately reaches a crescendo that can only be on par with sorcery. The tracks are bold, and take a back seat to no one. The arrangements too, are daring, dangerous, and are executed flawlessly with bravado and simultaneous grace. These tracks document 2 nights of magic during a time when nobody had seen or heard anything like them.(read the liner notes to Miles Davis' "Kinda Blue" for more insight.) The signature Statesboro Blues begins it all with a "shot across the bow", Done Somebody Wrong continues the climb, Stormy Monday embraces the T-Bone Walker blues standard gives it a quintessential Allman Bros. treatment and rocks it like nobody's ever done. Duane's solo is truly amazing, yet totally appropriate. Then, there are the jams: Hot 'Lanta, Memory of Elizabeth Reed, You Don't Love Me, and the crowning, Whipping Post. There'e not enough room here to give them justice, but these are the jams that have structure, however remain improv at the same time. You Don't Love Me, based on King Curtis' soulful tune displays Duane & Dickey's individual and combined artistry. Whipping Post, the classic tale of a lover done wrong, drives hard, eases up, meanders, and then drives hard at the finish. They probably all had their eyes closed the whole time, just feeding off of each other's energy & groove. These guys were all in their ealy 20's, playing like seasoned lifelong consummate pros. As Whipping Post ends, you can hear the fading intro to Mountain Jam starting in(from Eat A Peach). Can you even imagine?
BUY THIS RECORD. SEE THIS BAND LIVE. RUN, don't walk.