At Fillmore East [Extra tracks, Deluxe Edition, Original recording remastered]

Allman Brothers Band | Format: Audio CD

Product Details

• Audio CD (September 23, 2003)
• Original Release Date: 1971
• Number of Discs: 2
• Format: Extra tracks, Deluxe Edition, Original recording remastered
• Label: Island / Mercury
• ASIN: B0000ADY9I
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Music
• Average Customer Review: 4.8 out of 5 stars  See all reviews (312 customer reviews)
• Amazon Best Sellers Rank: #11,817 in Music (See Top 100 in Music)
  • #36 in Music > Blues > Slide Guitar
  • #74 in Music > Rock > Jam Bands > Rock Jam Bands

Editorial Reviews

The Allman Brothers Band at Fillmore East has long been regarded as one of rock's great live albums, but portions of those legendary performances have also wound up on albums like Eat a Peach and the Duane Allman Anthology . Now, for the first time, all recordings (in their original mixes) lifted from the Fillmore East dates have been assembled together into a 2-CD slipcase boasting over two hours of some of the finest musicianship in all of rock. Pure bliss!

Most Helpful Customer Reviews

268 of 277 people found the following review helpful

4.0 out of 5 stars Notes on how this differs from other versions September 26, 2003

By Dennis L. Myers Jr.

Format:Audio CD

You've probably noticed that there are at least two other versions of the ABB March 1971 gigs at the Fillmore East. So how is this one different? First, be aware that there are NO previously unreleased tracks (including the fact that there are no alternate versions, taken from different shows).

This version contains the entire original AT FILLMORE EAST album from July 1971 (still available in a one-disc edition). Specifically, I mean these are the EXACT same performances (and mix, I believe) featured on the original. Of course, this new set adds the extra Fillmore material that was later released on EAT A PEACH, DUANE ALLMAN AN ANTHOLOGY 1 & 2, and the DREAMS box set. Again, these are all the exact same versions of these songs.

At first glance, the new "Deluxe Edition" looks similar to 1992's THE FILLMORE CONCERTS, with the notable addition of "Midnight Rider," taken from ANTHOLOGY 2. However, THE FILLMORE CONCERTS contains several alternate versions of songs, and is completely remixed (controversial among fans, but provides an interesting comparison). These alternate versions are not available elsewhere, though this may be an issue only for fanatics like myself. THE FILLMORE CONCERTS also had the benefit of original producer Tom Dowd, who recently died.

I have a few problems with the new "Deluxe Edition." First, the edits are shoddy. In some places, attempts are made to mix the songs together without the fade-outs between songs. In other places, the fade-outs are intact. I can't figure out this inconsistency. It seems like laziness to me, as if they just crammed together the existing mixes of the songs. Additionally, Dave Thompson's essay doesn't offer any new information, and seems rather short and lightweight. It's hard to not see the "Deluxe Edition" as some sort of cash-cow for the record company.

What are the pros? The photographs are fantastic. The prints of the front and back album cover are the best I have seen. Again, most of these photos can be seen elsewhere, but the prints are excellent. Aside from the price, I like that this gives an ABB neophyte the opportunity to hear all the songs together. After all, the performances left of the original LP are some of the finest of their career.

This new "Deluxe Version" of AT FILLMORE EAST is great for new fans and will be my recommendation when asked which Allman Brothers album to purchase first. For hardcore fans who have this material already, I think you will be let down overall. Those fans should pick up THE FILLMORE CONCERTS for a fresher perspective on these recordings. With five Fillmore shows on tape in the vaults, what the record company should have done was release each show, fully intact, perhaps in a box set. That would truly be a deluxe edition, but it would require much more work than was put into THIS set. So it gets knocked down to four stars for that reason.

181 of 190 people found the following review helpful

5.0 out of 5 stars Best musicianship in rock history May 4, 2002

By Jinkyu

Format:Audio CD

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.

55 of 55 people found the following review helpful

5.0 out of 5 stars A Classic with controversial remixes December 18, 2004

By Patto53

Format:Audio CD|Amazon Verified Purchase

I cut my teeth on jamming listening to Cream. So the Allmans' Live was not a revelation just a stunning album and purchased on release in Australia. I know it all by heart -just burnt into the synapses.

In 1992 Tom Dowd did a full concert remix and remaster as "The Fillmore Concerts". This is where the controversy starts cause it sounds different and so it should - Tom transferred the original 16 track master tapes to digital and remixed. Taking advantage of the wider dynamic and frequency range, he produced a mix with the bass guitar stronger and drums clearer and more dynamic. Unfortunately the guitar freaks found the relatively lower level guitar sound unacceptable but the bass freaks loved Berry's sound (more bottom end).

Now we have the SACD stereo, multi-channnel and Audio Stereo remaster release of the original 2 record set accurately split over 2 cds. It should fit on one but there is marketing to us baby boomers. But I gotta say they did perform split sets so it does reasonably capture the night.

And more controversy - the stereo CD layer is a remix closer to the original LP release. Drums are further back but the bass guitar bottom end is retained. The tracks are identical to the original release but not on the SACD layer with the Fillmore Concert's "Stormy Monday" used, which is the unedited version including the harmonica break, and a different edit to end "Whipping Post". On the SACD layer the tympany start to "Mountain Jam" is rapidly faded out and applause overdubbed which is annoying if you want the sonic continuity when following up with the jam from the "Eat A Peach" SACD.

Sound of both layers is excellent with SACD preferred because you can adjust the bottom end via the sub control. The surrounds give some reverb and audience noise - "Play all night". The centre has plenty of bass guitar, some drums and some of Greg's vocals (reinforcing the original centre-left positioning of the vocals). I would have preferred the drums a bit higher in the centre.

I can feel the SACD Deluxe "Fillmore Concerts" is on its way - the wallet is already feeling lighter.