on February 25, 2006
Released 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.
on March 7, 2008
Man oh man oh man - THIS is the best of the best, the best remaster of the best of The Masters of American Rock/Jazz/Blues ever, The Allman Brothers Band when they were at their peak. The sound engineering on this CD has to be heard to be believed, but take my word for it, it is freaking excellent! Eat A Peach, when I first bought the album as a heartbroken junior in High School, was a great testament to the band and to their fallen leader, the greatest guitarist ever, Duane Allman. Of course the stuff Duane played on was excellent, but what we fans were ultimately saved by were the new recordings they made without him. They were so damn good with Duane, and yet the band was still damn good without him ( or should I say, without Duane's guitar playing, for he was certainly there in spirit when they recorded these songs.). And this superb remastering makes it all sound awesome. AND: added to all this is the second disc which features the entirety of the Brother's performance at the closing of the legendary Fillmore East. The sound quality of this disc is damned good, just a shade less than the original Fillmore recording, but hardly noticeable, I'd say. It's great to hear Duane talking between songs, great to hear his mind-altering guitar playing, great to hear Berry still playing the best bass in the world, and man does Greg sound good here. And of course Dickey Betts is awesome, and Jaimoe and Butch laying down the great double-beat...Jesus Christ! What a band they were! So glad they were with us while they were, but so damn sad Duane and Berry were gone so soon after these recordings. This CD is the best way to remember what was the greatest American rock band ever. Amen!
Now here are some more words a couple of months later. I now think that the second disc here sounds BETTER than the original Fillmore show. The mix is absolutely superb. Perhaps Duane and Dickey are playing a little more loosely here than on the Fillmore CD, but the overall sound here is just perfect, especially on headphones. This Deluxe Edition of Eat A Peach would definitely be on my Desert Island list. It has almost everything Fillmore has, plus the great studio songs they recorded just before and just after Duane's tragic death. I cannot recommend this CD enough - absolutely worth every penny. Listen and enjoy, rejoice and cry, it's all here. Duane Allman was a musical genius. And his band was the best this country ever produced. There's never been anything like him, or them, since.
on July 3, 2006
...in the muddy and muffled sound of ALL previous reissues and remasters of Eat a Peach, including the MFSL release, you're in luck. This edition finally fixes those issues, and I must say that it truly sounds beautiful. They either found a much better tape or they did a sonic restoration job on it, because there's no comparison to anything that has come before it. If you like (or love) this album, you won't regret buying this. To top it all off, it includes the entire June 27, 1971 Fillmore East concert, and it sounds great too, even though the mixing is a little questionable.
on November 1, 2004
Many thanks are due to whoever is responsible for this fan favorite being mixed to multi-channel SACD. It sounds great! Both the multi-channel and stereo mixes represent a significant advance over the way this disc sounded before.
I guess we should start by thanking Jeff Glixman who most folks know as the producer/engineer for KANSAS. He certainly has endeared himself to this Allman Brothers fan for his excellent work in mixing "Eat a Peach" to hi-resolution 5.1.
I compared the new SACD to the most recent edition of the CD - the remastered one released a few years back. I listened to the SACD and the CD simultaneously with the CD in Pro Logic II mode (Denon CD player), while the SACD was played back in a Pioneer universal DVD player. Switching back and forth with volume levels matched, it was easy to hear the improvement.
The new 5.1 mix has Gregg's voice spread out across all 3 front channels, and the soundstage is much wider than before with the 2 drummers clearly separated between left and right. Soundstage depth is amazing considering that not very much is going on in the surround speakers. Low frequency extension is excellent and fans of Berry Oakley's bass playing will revel in the seismic bottom end. Acoustic guitars sounded like they were being played right there in my living room, while cymbals and other high frequency sounds also sounded like they were being played in my room.
This new sense of "presence" can be thought of another way. During "Mountain Jam" for example, I felt transported OUT of my living room and right onto the stage with the band. The 3D illusion is so real, it sounded like I was standing between Duane and Dickey's amps, and right in front of and between Jaimoe and Butch's drum kits. The organ and bass sounded like they were coming from everywhere at once, giving me an experiance of immersion in a 3D soundfield.
Unlike other multi-channel SACD's which throw instruments around the room in jarring and unnatural ways, this SACD uses the surround channels simply for ambient reinforcement of the traditional soundstage which is still up front. The genius of this approach is that it preserves the naturalness of the performance, and the traditional soundstage with Duane on the left, Dickey on the right, Jaimoe on the left, Butch on the right etc., while still creating a 3 dimensional immersive experience.
Audiophiles who review $100,000 sound systems in magazines like Stereophile often talk about being able to hear the "hall" that the concert was played in as well as the music. The subtlety of Jeff Glixman's approach to this 5.1 mix enabled me to hear the hall (the Fillmore) on my little $2000 system. Kudos to Jeff Glixman for working that miracle!
The improvement over the regular CD can be boiled down to: a much wider and deeper soundfield that expands to fill the entire room. Greater high frequency and low frequency extension. Any element in the mix that you would care to name sounds bigger, clearer and closer. The twin lead guitars of Duane and Dickey sound natural and clear, not shrill or brittle. Fans of Berry Oakley will appreciate that the bass now sounds like a bulldozer going downhill with the throttle wide open. Hold on!
For those without a multi-channel setup who are interested in the hi-resolution stereo layer, it's wonderful too. Both high and low frequencies are more extended than before, and the soundstage is wider and deeper than the old CD. The drums now sound full-size and close, whereas they used to sound small and somewhat distant. The soundstage is open and transparent with instruments clearly placed in 3D space with plenty of air around each instrument. It really does sound like you're THERE.
on June 10, 2006
Let's set the record straight. When it comes to The Allman Brothers Band, especially the classic Duane Allman / Berry Oakley era Allman Brothers, I can't be objective. Yes, I'll admit, I'm a dyed-in-the-wool, certified fanatic. Having seen the orginal line up a total of five times....make that five, breath-taking, awe-insipiring, super fantasmaglogia times, I'm clearly not an unbiased source. I saw the ABB on one of their first tours in the winter of 1969 at the Capital Theatre in Portchester, NY. No they weren't the headliners. In fact they played third on the bill to Johnny Winter and headliners Delaney & Bonnie & Friends. Then I saw them three times at the Filmore East and once at the Manhattan Center on 34th Street, accross from Penn Station.
The best of those five shows was the last "public" concert at the Filmore East. The very last night was a show Bill Graham put on for a celebrity, invited-only audience. I was at the "last public" show and I'll never forget the intesity of their unforgettable performance. The previously unreleased material on disc two of this new Deluxe Edition of EAP was from that last Filmore show I attended. Cue this puppy up to disc two and hang on to your hat, cause you're in for a ride.
Listen to Duane soaring off into the stratsosphere on "Statesboro Blues", "Don't Keep Me Wondering", "One Way Out" and "You Don't Love Me". Hear Berry's oh so thick, so heavy and inspired bass lines. Gregg is in great voice, (never sounding better for my money) and Butch and Jai Johnny are just as steady and precise as a Swiss chronograph. Believe me, it just dosn't get any better than this. The remastering job they did on these thirty five year old tapes is truly magnificent. The unreleased material, as I mentioned earlier is a treasure. The graphics, the packaging, the beautiful vintage photos and the liner notes by Scott Schnider all combine to make this new EAP absolutely indespensible. You can't call yourself an Allman Brothers fan if you don't rush out and purchase this one. It sure brought me back to that hot sweaty June night on New York's lower east-side where The Brothers obliged the crowd's cheer of "Play-All-Night"!!!! What a thrill that was!!!
How does one introduce an album one has had to replace twice before finally getting it on CD? Byu admitting that it provided a constant accompaniment to his life for more than two decades, that he remembers hearing the echoes of "Blue Sky" wafting into the rafters at his wedding reception in an expansive old mansion beloinging to a friend's parents, or that he felt more at home when listening to it on a Sony Walkman in strange motel rooms all over the country when traveling on business? It seems to be a permanent part of my life, like Sgt Pepper or Bookends. This is the album released at the apex of their rise to fame and fortune, a studio album completed after lead singer and slide guitar magician Duane Allman died in a motorcycle accident. This is s spellbindingly good collection of an under appreciated band at their very best. You will find most of the songs included here on their various "best of the Allman Brothers" collections, and for good reason. Whether it is for the matchless "Blue Sky', or for the blockbuster sound of "Ain't Wasting Time No More", this is an album so terrific, you will play it again and again. I especially like their guitar instrumentals. Gregg Allman and Dicky Betts perform absolutely magically here, and it is all captured for your endless amusement and entertainment. Enjoy!
Arguably the best studio work of the ABB career, with gems like Blue Sky, Stand Back, Ain't Wastin' Time No More, Les Brers and Melissa, plus the definitive versions of One Way Out and Trouble No More. Mountain Jam twists and turns finding every nuance of the tune, much the way good jazz players turn a fairly simple standard inside out.
Perhaps most interesting to me is that you can see the incredible growth of the band in just 6 months since the Fillmore record, and sense the search for a new voice in a post Duane era.
essential music. Played with pride power and passion. Great songs, great performances
Along with Lynyrd Skynyrd's "Street Survivors," The Allman Brothers' "Eat a Peach" is one of the defining albums of Southern Rock. It is also the high point of this troubled band's recording career. That said, its also an interesting mix of songs, with the live track "Mountain Jam" checking in at over a half an hour, or nearly as long as the rest of the album combined. Yet it is a great half hour, an amazing feat in that it is not at all repetetive or boring. The rest of the songs are almost all Allman classics, including "Blue Sky," "Ain't Wasting Time No More," the ballad "Melissa" and the amazing Duane Allman guitar solo "Little Martha" that is made even more poigniant by the fact that he died not long after recording it.
"Eat a Peach" is a must own for any fan of southern rock. It is simply the Allmans' finest hour.
on July 13, 2006
When the Allman Brothers set out to record Eat A Peach in 1972, it was their first Top 10 album. While recording Eat A Peach, At Fillmore East was certified Gold just two weeks after guitarist Duane Allman was killed in a motorcycle accident. The band members were determined to finish the album as a tribute to their brother/friend Duane Allman. This deluxe edition comes with a 11 page booklet with some great pictures of the band as well as an essay done by Scott Schinder to learn more about Eat A Peach and what happened during and after the recording sessions. As you open up the album you will see some cool art with Eat A Peach: Dedicated To A Brother, Duane Allman. As you listen to the first CD Ain't Wastin' Time No More is a strong opener to the CD. As you get into track 4, Mountain Jam is filled with just about everything any Allman Brother fan would want great jams, crying solo's, good drum solo's, groving bass, and much more. The live tracks on disc one are truely great. One Way Out, and Trouble No More are strong songs. Their are countless hits on disc one Ain't Wastin' Time No More, Melissa, Blue Sky, etc.
The sound on this Deluxe Edition is absolutely the best sounding Eat A Peach i have owned throughout my years of reissues of Eat A Peach both complete and incomplete. Disc two is my favorite disc for the simple fact that its the Allman Brothers Final Fillmore East Concert, June 27, 1971 (previously unreleased), except One Way Out and Midnight Rider. From the start Statesboro Blues is a completely different version then on the fillmore all of us Allman Brother fans know. I think disc two is truely incredible!! For me In Memory Of Elizabeth Reed is the best song on this final Fillmore Performence. Whipping Post is also a highlight. I have seen the Allman Brothers a couple of times in their prime and I just cant get enough of these Deluxe Edition CD's, these releases are worth the buy 99% of the time. It was truely a dedication to a brother, Duane Allman!!!! Highly Recommended!!!!!
on June 8, 2006
To me the Allman Brothers creative peak was four LPs: Idlewild South, Fillmore East, Eat A Peach, Brothers and Sisters.
If you are an ABB fan you own this CD already (I did). You can also get this show in trading circles (along with some other fine audience and soundboard recordings) if you want to go to the effort (and ultimately more cost than this).
Released after Duane's death, this was originally a double LP. Great one as well - my personal favorite of the four listed above (it just beats out Fillmore East). Their first top 10 CD and the CD that propelled them into playing Stadiums like RFK or venues like Watkins Glen.
The sound is superb, the songs are excellent. What truly makes this worthwhile is the second disc of live music and the SOUND of that music. The Whipping Post and You Don't Love Me alone are to die for.
Even though I had the Remastered CD (and the SACD as well) I popped for this and don't regret it one bit. I doubt you will either.