Customer Reviews

Live At Atlanta

5 star:		(32)
4 star:		(8)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

I have wondered for a long time when this was going to be released. This 2 cd set contains both of the Allman Brothers Band's performances from the Atlanta International Pop Festival in July of 1970. "Every Hungry Woman" from the first set was previously released on the "Mycology" compilation and scorching versions of "Statesboro Blues" and "Whipping Post" from the second set were released on the "Great Festivals of the Seventies" lp in 1971. Highlights of the first set include an inspired version of "Dreams" and the Berry Oakley vocal spotlight "Hoochie Coochie Man". The band was really locked in by the time of the second set. From the barnstorming opener "Don't Keep Me Wonderin'" the intensity never fails. After the aformentioned slide workout "Statesboro Blues" the band performs one of the best ever versions of "In Memory Of Elizabeth Reed". Duane and Dickey trade licks like there is no tomorrow. An emotional reading of T-Bone Walker's "Stormy Monday" follows with a great vocal by Gregg. Berry Oakley's lead bass kick starts the runaway version of concert favorite "Whipping Post" played jazzier than usual. Just when you think the intensity can not get any higher the best ever version of "Mountain Jam" clocks in next at around 28 minutes. Johnny Winter joins in on the jam to make it more interesting than usual. It contains a monster bass solo by the underrated Berry Oakley and great jazzy drum interplay between Butch Trucks and Jaimoe. The guitars of Duane and Dickey just soar and Gregg adds some interesting keyboard fills to the mix. Old friend Thom Doucette adds his tasty harmonica playing to a number of songs on the set. The first set also contains a good version of Muddy Waters' "Trouble No More" which was not played during the second set. Some have called the Allman Brothers Band of this time period the greatest live American rock band. This new set "Live at the Atlanta International Pop Festival" ranks right up there with "At Fillmore East" and after hearing these two live sets I'm inclined to agree. The new 2 cd set is the next best thing to being there! If you like this set by all means pick up the Deluxe Edition of "At Fillmore East" that was recently reissued. The new Deluxe Edition of that set contains at least one version of every song played during this historic run of concerts. Hopefully some of the performances of the other bands that played at the Atlanta International Pop Festval like Ten Years After, Mountain, Johnny Winter, Jethro Tull etc. will be released in the future.

Opening with a thoroughly bizarre introduction, and equipped with the unwieldy handle of "Live At The Atlanta International Pop Festival: July 3 & 5, 1970", this excellently remastered double live album captures The Allman Brothers Band in July of 1970, eight months before the legendary Fillmore shows.

The sound is very, very good, crisp and realistic, and the young band plays with authority and skill (singer and organ player Gregg Allman was 22 at the time, and guitarist Duane Allman little more than a year older). Duane Allman and Dickey Betts play off the muscular organ riffs of Gregg, laying down energetic, eager and lean renditions of songs like "Every Hungry Woman", "Trouble No More", and "Statesboro Blues", versions which have a tough, rock n' roll-like immediacy sometimes lost on longer, more improvisational versions of those songs.

Disc I is the longest, although not by much. Duane Allman's slide guitar burns all the way through, and he and Dickey Betts lay down galvanizing licks behind Gregg's powerful vocals on "Trouble No More", "Every Hungry Woman" and "Don't Keep Me Wonderin'". Thom Doucette adds gritty blues harmonica to several numbers, bassist Berry Oakley sings a great, rough version of "(I'm Your) Hoochie Coochie Man", and the 11-minute "Elizabeth Reed" features more high-class guitar playing than most full-lenght CDs.
"Whipping Post" includes a l-o-n-g instrumental jam which will probably appeal mostly to diehards, and this is not the best version I've heard of that song, but almost everything else on the first disc is top-notch, including the coolest, most swinging "Mountain Jam" ever!

Disc II features the original mixes of July 7th's performances of "Whipping Post" and "Statesboro Blues", first released on "First Great Rock Festivals Of The Seventies". ("Every Hungry Woman" from disc I has seen the light of day before, too; everything else is previously unreleased.)
This version of "Don't Keep Me Wonderin'" is even more magnificent than the one on disc I, a tough-as-nails rendition, all howling slide guitars and pounding drums, courtesy of Butch Trucks and Jaimoe Johnson. And this very tight, four-minute "Statesboro Blues" features, among its many other virtues, three magnificent, fiery guitar solos, including the opening one which threatens to ignite the CD player.

The 28-minute (!) "Mountain Jam" features a guest appearance by Johnny Winter, who plays third guitar, and if you like 28-minute Allman Brothers jams (not everybody does), this version will thrill you.
Disc II's 13-minute take on "In Memory Of Elizabeth Reed" is unusually beautiful, filled with urgency and power, and while the 9-minute "They Call It Stormy Monday" is somewhat more subdued than the Fillmore version, it has lots of soul and some fine guitar playing as well.

Lots of listeners have already made up their mind and decided that the Allmans' "At Fillmore East" album is the greatest thing ever as far as early live Allman Brothers is concerned, and this album probably won't change their mind. But to me, these two discs match the Fillmore concerts every step of the way, due to the quality of the performances as well as the exceptionally clear sound and wonderful three-dimensional mixes.
Very highly recommended.

It's been an overwhelming year in regards to the quantity of ABB releases/goods in 2003. With a long list including the Beacon dvd, the Instant Live shows, & along with the recent gem> the 9/19/71 archive release... the Atlanta Pop release from Sony. (For more information, check out the offcial ABB web page.)

These recordings have been circulating in the trading circles(you know who you are) for a bit, but NEVER in this recording quality. The quality of these recordings is nothing short of breathtaking. There was a neat little promotion for this release through the Sony web site that included a promo poster as well(I think it's over though).

Re: the shows
It's an essential recording that is just as important as the Fillmore East album. Their "sound" had yet to reach Fillmore levels, but it's an interesting contrast to the Fillmore shows as well: the large festival atmosphere permeates with an overabundance of energy. Just listening to Duane Allman & Berry Oakley (listen to him on Hoochie Coochie Man) work the crowd is a guilty pleasure for ANY Allman Brothers Band fan.

My personal preference between the two shows is the 7/3/70, as I like the flow of the setlist(even w/ the rain delay). Duane Allman is simply awesome throughout the gig- recommended are Dreams & his solos on Mountain Jam. The guest appearance by Johnny Winter on the second MJ is a mixed bag.... he does not add anything musically, & some may even find him to be a distraction. One should also note, that the Mountain Jam w/ Winter also has been edited down, as the original running time is much longer (in the 40 min. range). How do I know this? Well, I have it, as do countless other traders. So people that have had the show should hold onto their Captain Skipper remaster.... but should get this release as well due to the stunning sound quality & packaging.

Although the recent Dickey Betts split has caused a division of sorts to the many faithful in the ABB legion, w/ many claiming who is "right" or "wrong", there is a common ground for them all: the original line up. A dear place in the hearts of many, when Duane, Gregg, Dickey, Berry, Butch, & Jaimoe were all playing music together.

The 3 day July 4th 1970 Atlanta Pop Festival, full of superstar acts like Hendrix, Jethro Tull, Ten Years After, Grand Funk Railroad, B.B. King, Mountain, Captain Beefheart, Johnny Winter and Spirit - to a crowd of up to 600,000 - opened and closed with an up and coming local band, the Allman Brothers.... Having only released one album previously (and with the historic Fillmore East Concerts still to come), this was a fresh and powerful debut on their home turf. From the sounds of these two sets they both set the tone for the whole weekend and perhaps stole the show with their lasting impression. The setlist is short and repeats (they didn't have many songs), but the songs are the ones we all know and love. They play mostly bluesy standards and end each show with a great Elizabeth Reed, Whippin Post/Mountain Jam set.

In an earlier review for their latest studio recording, Hittin' The Note, I said that was the Brother's best effort (a mature late, second or perhaps third and highest peak). But I stand corrected, THIS was the early and perhaps best peak! I even like this more than the classic (universally acclaimed) Fillmore recordings, perhaps because it sounds new and fresh to me now (35 yrs later), while I have a longer history with the Fillmore album (which is undoubtably classic and solid). But this band was new and fresh and bright and ALIVE. This show seems to burn way hotter, and all the raw and rough edges are welcome (like the rough and tumble rapids of a young and wild river).

Hittin' The Note is still great in comparison and one of my favorites, but much so because of shows like this and the history and survival and redemption of this amazing all-American band. This is almost as good as being there (yeah, dream on....)

The Allman's were living close to where this festival was held, and turned on several hundred thousand people to a band that had played together for the first time less than a year earlier. It is amazing how fast the Allmans became among the tightest performing units in rock. For fans of the original Allman Brothers, this release fills a void we have been craving- the only multi-track live set with Duane other than Fillmore East. The band released a 2 track reel recording from December 1970 on their site as well. These performances reveal variations to the songs which highlight their impovisational skill. You'll notice there are 2 versions of most songs, however they are different in approach, varying in length, tempo and soloing. They may be a bit rougher in spots compared to Fillmore East, but amazing nonetheless...if anything one gets the feeling that the band is taking more chances here, without worrying about making a mistake (which must have been in the back of their minds during the recording of Fillmore East). There is alot of burning solos from Duane and Betts throughout, and Oakley proves to be a strong contributer also. The Whipping Posts are shorter, but don't meander..they are intense throughout. The longer version of Elizabeth Reed is one to stand right alongside the Fillmore version...and to have a nice live version of "Dreams" with Duane is the icing on the cake. The sound quality is about as good as you can expect for a large outdoor festival from 1970, well recorded for the time with a good mix...and thank god the engineer was awake to roll the tapes when Duane and Co. came onstage at 3:30 AM (disc 2), Duane biding all "GOOD MORNING!".

The deep dark secret in the lives of your parents (and by now possibly your grandparents) is that there once was a period referred to as the "late 1960's and early 1970's". It may interest you to know that your Dad who works 60-80 hours a week at his upscale law practice or financial brokerage firm once spent entire weeks traveling from concert to concert, smokin' weed, combing his four foot length hair, and making love not war with hippie chicks who refused to wear bras because they were into the natural beauty of their nubile young bodies. It also may interest you to know that your mother who wears designer suits with expensive shoes to work and is constantly quoting Bible verses in the face of your problems was once one of those hippie chicks who used to get naked and dance in the middle of huge outdoor concerts higher than a kite. Your father refused to take a job because he didn't want to be corrupted by money and your mother was known to drink Boone's Farm Strawberry Wine and to repeat "let the music set you free" to all who would listen. As they say, it was different back then.

It was also a time when the Allman Brothers Band was just a bunch of kids. This current artifact before us finds the band performing much of the same material that would be turned into the classic THE ALLMAN BROTHERS AT FILLMORE EAST eight months latter. There are two things, which must be said at this point: 1.) There is no excuse not to have THE ALLMAN BROTHERS AT FILLMORE EAST in your CD collection-if you don't have it now, go get it. And 2.) LIVE ATLANTA INTERNATIONAL POP FESTIVAL: JULY 3 & 5, 1970 cannot compete with the afore mentioned classic and isn't meant to. Instead what we have is a set of performances that have a different spirit behind them. While the renditions of these songs are not a confident as on THE ALLMAN BROTHERS AT FILLMORE EAST, they have a freewheeling exhilaration and rawness that perks up your attention. We have the original Allman Brothers lineup with Duane Allman and Berry Oakley as well as the addition of Thom Doucette on harmonica and Johnny Winter sitting in with guitar on the July 5th performance of "Mountain Jam". All this comes as a love letter from the band written long ago.

The Allman Brothers Band would go on to a series of tragedies and humiliations in the years to come. Duane Allman and Berry Oakley would lose their lives in motorcycle accidents in just a few short years. Gregg Allman would go through multiple marriages and addictions. The band would break up or go dormant several times. Finally Dickey Betts would cross the line just one last time and get himself kicked out of the band. All this does not detract from the fact that not enough good things can be said about the band-especially in it's early years shown here. Anyone who had put down their joint and put their clothes back on long enough to just sit there and listen would tell you the same. Things have changed since then, as things must-but not all change is for the best. Recent concerts and music videos resemble less musical performance than cheerleading demonstrations. While sentiments and attitudes toward women in 1970 were less than enlightened, there was little doubt that our musical heroes loved women. I am less than 100% convinced that today's "stars" actually like women. The Allmans represented a time when you could ask a rocker to sit on a stool with his guitar and sing you his song all by himself and he could give a good accounting for himself. Many if not most of our current "stars" could not do that: the actual playing of music is left to the specialists.

Fans of the Allman Brothers Band have many shortcomings-a lot of the things we did way back in 1970 were ridiculous and breathtakingly shortsighted. We would be less than amused to have our children and grandchildren know about some of the things we did back then. But the reason this music bears multiple editions and different concert recordings is that both the band and their fans care about the music. You would think having the first twenty-three various recordings of "In Memory Of Elizabeth Reed " would be enough for your average ABB fan; but it isn't nearly enough.

The liner notes indicate than parts of these performances were released as part of THE FIRST GREAT FESTIVALS OF THE SEVENTIES-a "Woodstock"-like album put out in the early 1970's. Not much is said where these tapes were all this time nor why nothing was made of them until now. In any event, the quality is good to excellent with few embarrassing excesses common to the times. (For that just listen to the announcer's introductions before both of these performances). By all means, get THE ALLMAN BROTHERS AT FILLMORE EAST to get your mind right. That album is like drinking excellent whiskey straight, pure and at full strength. Then get LIVE ATLANTA INTERNATIONAL POP FESTIVAL: JULY 3 & 5, 1970 for an additional good time. Not quite as good; but different enough to be good all the same.

I love this 2 cd set. The Allmans opened and closed the Atlanta International Pop Festival in 1970. What a music festival this must have been. Hendrix even played one of the days.
These 2 shows must have been special for the brothers because they were still trying to create a buzz about their music and this festival was right in their backyard. According to the notes the crowd grew to over half a million during the weekend. The brothers certainly played like they had something to prove. One reviewer complained that Duane's guitar was out of tune. Not to me. True, Duane's playing was all over the place - some licks worked and some didn't. The entire band seemed to be reaching as far as they could on every song. The results are a show not nearly as smooth and even as the Fillmore shows but that only adds to the beauty of this set and makes it a necessary purchase for the collector. And I am one fan who would have loved to have been able to attend this show.
Stand outs:
Duane first slide licks on Elizabeth Reed don't really seem like their on the mark but once he and Dickey lock into the guitar lines together (one on slide, the other straight lead) the experience becomes surreal. Interestingly, Elizabeth Reed is approached the same way during both shows.

Stormy Monday (2nd set, disc 2) rivals any other version I've heard by them. They manage to wring true blues out of every note.

Moutain Jam is great as always. You get the added guitar of Johnny Winter in the 2nd set but I have to agree with the reviewer who says that it's hard to tell he's there. Still, this is their version of Dark Star and is always amazing to hear.

Buy this along with Ludlow and the Fillmore shows and you have a perfect picture of how the brothers played when they were the tightest band in the world.
5 stars just for the retro artwork (I believe the cover is how the actual poster art work looked).

There seem to be basically two categories of music lovers in this world: those that enjoy pristine studio albums, and those who love the energy and spontaneity of a live recording ( warts and zits intact ). To address another reviewer's speculation, outdoor shows wreak havoc on guitar tuning...humidity, temperature extremes, etc...probably why these tapes were relegated to some shelf for over three decades. Tom Dowd was justifiably sure that they could achieve far better results recording at an indoor venue, and that was amply demonstrated at the Fillmore East shows. That said, these recordings shine in their own way! For one thing, I love the fact that there are no annoying fades between songs ( a Tom Dowd staple ). On the Fillmore East album, this always destroyed the continuity of the concert for me ( and Dowd would continue this habit with the two "Evening With..." CD releases). He rectified it somewhat during the early ninties with the revamped and expanded "Fillmore Concerts", but still deleted the casual chatter between songs. Again, people either like this editing or they don't. One of the things that's always appealed to me about the ABB is how down to earth these guys have always been. This long-overdue release of their Atlanta performances beautifully captures the essence of a typical show! And, having seen them myself in 1981 during the "Toler Era", their stage demeanor doesn't change: these guys, regardless of incarnation or era, are the same unpretentious rockers that smoke the stage with every performance. No star trips. If intonation and "irritating chatter" are annoying, you should stick to the studio albums. Hearing the occasional bum note actually lends a sense of authenticity for me...I know that, chances are, this is a true representation of exactly what went down at the show ( no doubt Pink Floyd, had they been rained on, would've edited that "glitch" out, along with every syllable they deign to utter to their audience! ). In this day and age of Pro Tool editing, cut and paste "fixing" of so-called "live" albums, I find this decades-old chestnut from the Lions of Southern Rock very refreshing indeed.

Having grown up in the south and following ABB around for most of my youth, I can say that this is ABB at their best. I remember both sets fondly....well...those parts that I CAN remember!! The weekend was complete havoc, but the musical moments are still burned into my memory 35 years later. Duane and Betts were magic, plain and simple. One thing that I remember but haven't seen mentioned anywhere is that not only Johnny Winter, but his brother Edgar jammed on stage with ABB that evening. Can anyone that hasn't destroyed those brain cells please confirm?

Mark in Alabama (51 and still rockin')

If for nothing else than day two's Mountain Jam with the one of the better drum solos, and for the three guitar extravaganza with Johnny Winter. there's a couple of minutes there toward the end of Mountain Jam that is just mystical. Don't laugh. This entire project is a five star rating but those couple of minutes are the stars. Ya know with Duane there and before Dicky's hubris, and maybe they were just too tired and too stoned. but hey, those were magic times. I guess every generation has their time, and I'm happy that I was there for mine.