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  • 03/03/13--01:30: LUV YA EUROPA 1985



  • I could find very little info on this 85 release. I did notice a couple of interesting points about the LP so I posted a shot of the back cover that points out that this marks an appearance of Doug's son Shawn on solo for Bavarian Baby. Augie writes a couple of tunes here as well as doing the vocals on them. I reworked the original front cover(which in OMO might rank as one of the cheapest LP covers made....guess there was some budget restraints in place ) Over all a good LP and I do believe it was the last studio LP until 94's Day Dreaming At Midnight release. there would be a couple of live SDQ and Doug would return home to Texas (after a short stay in Canada) to record with Amos Garrett and others

     01  the ballad of the wasa
    02  no way like norway
    03  train to trondheim
    04  i wanna fall in love again
    05  suzie darling
    06  long black veil
    07  county line
    08  just a dream
    09  what ya gonna do for love
    10  bavarian baby



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  • 03/03/13--03:00: RED FACTORY 1985



  • 05-31-85: Rote Fabrik, ( Red Factory) Zurich, Switzerland (Radio Switzerland FM Soundboard)

    101 Intro
    102 Texas Me
    103 T-Bone Blues
    104 Together Again
    105 Look Over Yonder Wall
    106 Is Anybody Goin' To San Antone
    107 Woolly Bully
    108 County Line
    109 Band Intro
    110 Deep In The Heart Of Texas
    111 Who Were You Thinking Of?
    112 Mendocino
    113 Happy Birthday To Augie
    114 Adios Mexico
    115 Long Tall Sally
    116 Folsom Prison Blues
    117 I Know You Know
    118 Orange Blossom Special
    119 Heartaches By The Number

    201 Texas Tornado
    202 Crying My Heart Out
    203 Dynamite Woman
    204 Things That I Used To Do
    205 Dealer's Blues
    206 At The Crossroads
    207 I Wanna Fall In Love Again
    208 96 Tears
    209 Susie Darlin'
    210 Be Real
    211 Intro
    212 Que Paso
    213 Who'll Be The Next In Line
    214 Chicano
    215 She's About A Mover

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  • 03/04/13--00:00: SOUTHERN GARAGE




  • THE ALLMAN JOYS CIRCA 1966
    GREGG ALLMAN ON KEYBOARDS, DUANE ALLMAN ON GUITAR, BILL CONNELL ON DRUMS AND BOB KELLER ON BASS
    The Allman Joys was an early band with Duane and Gregg Allman fronting. It was originally the Escorts, but it eventually evolved into the Allman Joys. Duane Allman quit high school to spend his days at home practicing guitar. They auditioned for Bob Dylan's producer, Bob Johnston, at Columbia Records, backing a girl trio called The Sandpipers In true Beatles-esque style, Johnston was more interested in the girls... Eventually, they went on to form Hour Glass and then the Allman Brothers Band. Thedate of this post has been realigned to fall in sequence





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  • 03/06/13--13:22: ALLMANS 66
  •  About a week ago I posted a request for the Allman Joys LP. The band of course was fronted by the young Duane and Gregg Allman. Over the past week it kind of sparked a little interest on my own to revisit the Brothers and some of their earlier works before founding the legendary Allman Brothers Band. Let's go back again to the Joys and a live/studio selection. Kind of crude but alas You can never dig up archelogical stones without some dirt and rough surfaces. This work reflects the band early on as a "cover" band but with promise.

     From the back of the Early Allman compilation (Allman Joys - Early Allman):

    "One quiet Nashville evening back in '66, songwriter John D. Loudermilk walked into a small club called the Briar Patch. Up on the bandstand was what looked like just another of the thousands of teen age rock bands of the era. When they started to play, Loudermilk could tell they weren't so typical after all. The two front men were both blond and very intense. One played a trebly, stinging slide guitar; the other sang in an anguished, world-weary voice. John D. wondered how it was that these two looked so young yet played with so much experience. Needless to say, he was very interested in the group, which called themselves the Allman Joys. Allman was the surname of the two blond brothers, Duane and Gregg, who led the band. Although he'd never produced before, Loudermilk decided to take the group into the studio and cut some sides on them.
    One of the Allman Joys' sides, "Spoonful," was released locally and sold well. But Loudermilk had already decided to concentrate on song writing, so he brought the group to Buddy Killen, head of Dial Records. Killen thought the group was quite good, so he had John Hurley take them into the studio to record more tunes.
    'They were really way ahead of their times, I realize now," Killen says. 'Nobody really understood what Duane and Gregg were all about at the time. Eventually I gave them their release and they went to California, leaving these tapes behind.' Duane and Gregg Allman went on to form Hour Glass and the Allman Brothers Band."

    Note: Loudermilk's memory is slightly inaccurate, since Duane did not learn to play slide guitar until the Hour Glass, a couple of years later.


    02/xx/66 Allman Joys, Live and in the Studio

    1 Help
    2 Old Man River
    3 Heart Full Of Soul
    4 The Last Time
    5 Are You Sincere
    6 Carol
    7 Outside Looking In
    8 Good Loving
    9 Outside Looking In
    10 We Gotta Get Out Of This Place
    11 Just Like Me
    12 My Girl
    13 Nowhere Man
    14 ?
    15 Giving Up On You


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  • 03/08/13--05:22: FLOWER POWER HOUR


  • From an interview with Paul Hornsby (keyboards with the band and future session master at Muscle Schoals studios in Alabama)

     About 1965, I was playing with a band down at Dauphne Island, Alabama near Mobile. Some of the guys went down to a local club called the Stork Club & came back raving about a band they saw called the Allman Joys. They said the band  sounded great and had long hair & everything. (Long hair was a big deal at that time) They invited Duane & Gregg Allman, who the band was named after, to come out & see us on Dauphne Island. That was our first meeting & I was equally  impressed when they sat in and played with us.We started to see quiet a bit of the Allman Joys after that. They came up to Tuscaloosa, Alabama, where I was living at the time, and played for several fraternity parties at the University Of Alabama. Those were about the most lucrative gigs you could land back then.
    I had the band The Five Minutes going at that time and our drummer, Bill Connell,was offered the job of playing with the Allmans. Johnny Sandlin, who had played with  the Minutes before, came back aboard as our drummer.
    We became fast friends with the Allman Joys and they turned us on to their booking agent in Nashville. We went on the road playing music full time and played the same clubs as the Allmans.
    Then, in early 1967, The Men-its (by then, we had changed the spelling) broke up when our singer, Eddie Hinton left the band to be a session player in Muscle Shoals, Alabama. We were looking around for a replacement when I got a call one day from Duane.  Seems the Allman Joys had  just broken up & we decided to merge the two  groups.We practiced for a couple of weeks & got our first booking at a club in St. Louis, Mo. One night during this gig, the Nitty Gritty Dirt Band, along with their manager, Bill McEuen, happened into the club. McEuen was very impressed with the band’s  sound & convinced us to go out to Los Angeles. When we got out there, we signed with him as our manager and he landed us a deal with Liberty Records. Pretty fast work, since the group had only been together for about 3 months.
    We named the new group the “Hourglass“ and over the next couple of years, we cut 2 very forgettable albums for Liberty. Unfortunately, the label never captured our true sound. They just didn’t understand the music we brought out there as we were probably the first, what now would be called, Southern Rock band.

      
     Hour Glass was the debut record by the group of the same name, issued in October 1967 on Liberty Records, the first of two by the group that featured the namesakes of The Allman Brothers Band.

    The album was recorded by a group saddled by a producer unable to quite realize the group's potential. Dallas Smith, a formulaic producer noted for his work with Bobby Vee, knew the group was from the South. He knew they had formed from the ashes of groups that had performed liberal amounts of blues covers. And he heard soulful qualities in the voice of nineteen-year-old Gregg Allman. Therefore, he referred to them as a "Motown band", much to the dismay of the group.

    The Hour Glass was recorded with an emphasis on lead vocalist Gregg Allman's voice and dispensing with nearly all original material. Of the eleven tracks on the original LP, only one was penned by a group member, Gregg Allman's "Got To Get Away". The remaining ten were written by songwriters running the gamut from Curtis Mayfield and Jackson Browne to Del Shannon and the Goffin-King team. The Hour Glass performed the basic tracks, which were overdubbed by Smith with layers of vocals and instrumentation.

    The album was a failure in both sales terms and in properly showcasing the group. On the follow-up, 1968's Power of Love, the group would be given a bigger role in the making of the album.

        Duane Allman - guitars, sitar, vocal
        Gregg Allman - vocal, organ, piano, guitar
        Paul Hornsby - piano, organ, guitar, vocal
        Pete Carr - bass, guitar, vocal (1967–1968)
        Johnny Sandlin - drums, guitar, gong
        Mabron McKinney - bass (1967)




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  • 03/09/13--01:00: THE SECOND HOUR

  • Now this is a little more like it. The group really isn't sounding like they did at the Whiskey, but the playing by the band is pretty ballsy, and Duane's guitar is right up front and close, and he's showing some real invention within the restrictions of the pop sound that the producer was aiming for. He also plays an electric sitar on the strangest cut here, an instrumental cover of Beatles' "Norwegian Wood." From the opening bars of the title tune, one gets the message that this is a group with something to say musically, even if this particular message isn't it  the guitar flourishes, the bold organ and piano by Paul Hornsby, and Gregg Allman's charismatic vocals all pull the listener better than 98% of the psychedelic pop and soul-pop of the period.

     
    Studio with D &G Allman,J Sandlin, P Hornsby, and M McKinney
     
     Power of Love was the second record by Hour Glass, issued in March 1968 on Liberty Records, the final by the group with the namesakes of The Allman Brothers Band. After the failure of their first album, Liberty Records allowed a greater independence for the group, who had been virtually shut out of the decision making for their first album by the label and producer Dallas Smith. However, with the label's decision to retain Smith as producer, the group, especially Duane Allman, once again felt constricted by their label's expectations for the album.

    With Smith behind the boards, Gregg Allman was still the focus. The younger Allman, who had seen only one of his compositions on the previous album, contributed seven of the twelve tracks. The remainder were two from Marlon Greene and Eddie Hinton and one each from the teams of Spooner Oldham and Dan Penn, John Berry and Don Covay, and John Lennon and Paul McCartney. The group performed all of the instrumentation, with Duane Allman adding electric sitar to their cover of The Beatles' "Norwegian Wood (This Bird Has Flown)", a staple of their live act.

    Neil Young of Buffalo Springfield wrote the liner notes, describing his experience sitting in on the session for the album track "To Things Before", watching Gregg Allman leading the group through the number.


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  • 03/10/13--14:54: BROKEN GLASS


  • The Hour Glass would all but be finished after the release of the second LP' This Lp would not be successful either.  A third Lp would be released using outtakes and material recorded by Gregg as a contract fulfillment to Liberty records. The LP wpould be titled " Southbound". a very appropriate title as the band would all relocate back to their native south, Duane and Gregg would soldier on while the other band members began successful careers as studio musicians and producers at various southern recording studios. Duane would provide many years of studio works for many artists before beginning the next successful stage in his career

     
     Hour Glass were then playing live a lot, being booked every month at the Whisky A Go-Go and sometimes at the Fillmore West, including three nights with Buffalo Springfield, indeed Neil Young and Steve Stills wrote the enthusiastic liner notes for Power Of Love. They developed a strong reputation as a solid driving blues rock outfit but they were really unhappy with their records. With $500 from a gig, they finally rented Rick Hall's Studio in Muscle Shoals and cut some tracks on their own in April 1968 (one of these tunes BB King Medley is included on Duane Allman Anthology). The group returned to California with their tapes but Al Bennett at Liberty vetoed their release. They played some Southern gigs and eventually just drifted apart.

    Gregg was then forced to finish out the contract with Liberty and had to record, using session musicians, a pop oriented solo album which was shelved (the recorded tracks are the bonus on the CD reissues).

    After this unsuccessful Los Angeles period, all the musicians would return to their Alabama / Georgia / Florida area and would took a central part in the creation of the Southern Rock in the early '70s. Duane would first go to the Fame, Muscle Shoals and Criteria Studios to do sessions with soul and rock acts before forming the Allman Brothers Band with Gregg in 1969. He also was in Derek and the Dominos with Eric Clapton. One of the best slide guitar players ever, he sadly died in 1971 in a motorcycle accident.

    01  southbound
    02  february 3rd
    03  in a time
    04  apollo 8
    05  iv'e been trying (first version)
    06  down in texas
    07  three time loser
    08  bad dream
    09  she is my woman
    10  divorce
    11  kind of a man
    12  cast off all my fears (alt take)
    13  it's not my cross to bear
    14  god rest his soul
    15  it ain't no good to cry
    16  been gone too long
    17  bbking medley...





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  • 03/11/13--15:02: D&G'S 31


  •  Duane & Greg Allman is an album containing demo recordings for American rock band The 31st of February's second album, recorded at TK Studios, Hialeah, Florida in September 1968. The planned album was never completed as the band broke up shortly afterwards, and the demo recordings remained unreleased until Bold Records released this album in May 1972. It was then attributed to Duane and Gregg Allman who in the mean time had established themselves in The Allman Brothers Band together with Butch Trucks, The 31st of February's original drummer.

    Bolder Records released the opening track "Morning Dew" as a single in 1972, backed with "I'll Change for You". Neither the single nor the album made it into the record charts.

    The album was re-released several times after 1972 on various record companies and with varying cover art in various countries, including Germany and Japan.

        "Morning Dew" (Tim Rose, Bonnie Dobson) – 3:45
        "God Rest His Soul" (Steve Alaimo) – 3:55
        "Nobody Knows You When You're Down and Out" (Jimmy Cox) – 4:32
        "Down in Texas" (Eddie Hinton, Marlon Greene) – 3:40
            Incorrectly listed as "Come on Down and Get Me" (Ray Gerald)
        "Melissa" (Gregg Allman, Alaimo) – 3:15
        "I'll Change for You" (David Brown) – 2:57
        "Back Down Home with You" (Brown) – 2:25
        "Well I Know Too Well" (Alaimo) – 2:15
        "In The Morning When I'm Real" (Robert Pucetti) – 2:40

    Personnel

        Duane Allman – lead guitar
        Gregg Allman – organ, lead vocals
        Scott Boyer – acoustic guitar, vocals
        David Brown – bass
        Butch Trucks – drums, percussion






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  • 03/16/13--06:54: BROTHERS

  • The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and a new redemption. Over nearly 40 years, they've gone from being America's single most influential band to a has-been group trading on past glories, to reach the 21st century as one of the most respected rock acts of their era.

    For the first half of the 1970s, the Allman Brothers Band was the most influential rock group in America, redefining rock music and its boundaries. The band's mix of blues, country, jazz, and even classical influences, and their powerful, extended on-stage jamming altered the standards of concert performance -- other groups were known for their on-stage jamming, but when the Allman Brothers stretched a song out for 30 or 40 minutes, at their best they were exciting, never self-indulgent. They gave it all a distinctly Southern voice and, in the process, opened the way for a wave of '70s rock acts from south of the Mason-Dixon Line, including the Marshall Tucker Band, Lynyrd Skynyrd, and Blackfoot, whose music, at least initially, celebrated their roots. And for a time, almost single-handedly, they also made Capricorn Records into a major independent label.

    The group was founded in 1969 by Duane Allman (b. Nov. 20, 1946-d. Oct. 29, 1971) on guitar; Gregg Allman (b. Dec. 8, 1947) on vocals and organ; Forrest Richard ("Dickey") Betts (b. Dec. 12, 1943) on guitar; Berry Oakley (b. Apr. 4, 1948-d. Nov. 12, 1972) on bass; and Claude Hudson ("Butch") Trucks (b. May 11, 1947) and Jaimoe (Johnny Lee Johnson) Johanson (b. July 8, 1944) on drums. Duane and Gregg Allman loved soul and R&B, although they listened to their share of rock & roll, especially as it sounded coming out of England in the mid-'60s. Their first group was a local Daytona Beach garage band called the Escorts, who sounded a lot like the early Beatles and Rolling Stones; they later became the Allman Joys and plunged into Cream-style British blues, and then the Hour Glass, a more soul-oriented outfit. The group landed a contract with Liberty Records with help from the Nitty Gritty Dirt Band, but the company wasted the opportunity on a pair of over-produced albums that failed to capture the Hour Glass' sound. The group split up after Liberty rejected a proposed third LP steeped in blues and R&B.

    Duane Allman began working as a session guitarist at Fame Studios in Muscle Shoals, AL, and it was there, appearing on records by Wilson Pickett, Aretha Franklin, John Hammond, and King Curtis, among others, that he made his reputation. In 1969, at the coaxing of ex-Otis Redding manager Phil Walden, Allman gave up session work and began putting together a new band -- Jaimoe came aboard, and then Allman's longtime friend Butch Trucks and another Allman friend, Berry Oakley, joined, along with Dickey Betts, with whom Oakley was playing in a group called Second Coming. A marathon jam session ensued, at the end of which Allman had his band, except for a singer -- that came later, when his brother Gregg agreed to join. They were duly signed to Walden's new Capricorn label.

    The band didn't record their first album until after they'd worked their sound out on the road, playing heavily around Florida and Georgia. The self-titled debut album was a solid blues-rock album and one of the better showcases for guitar pyrotechnics in a year with more than its share, amid albums by Cream, Blind Faith, the Jeff Beck Group, and Led Zeppelin. It didn't sell 50,000 copies on its initial release, but The Allman Brothers Band impressed everyone who heard it and nearly everyone who reviewed it. Coming out at the end of the 1960s, it could have passed for a follow-up to the kind of blues-rock coming out of England from acts like Cream, except that it had a sharper edge -- the Allmans were American and Southern, and their understanding of blues (not to mention elements of jazz, mostly courtesy of Jaimoe) was as natural as breathing. The album also introduced one of the band's most popular concert numbers, "Whipping Post."

    Their debut album attracted good reviews and a cult following with its mix of assured dual lead guitars by Duane Allman and Dickey Betts, soulful singing by Gregg Allman, and a rhythm section that was nearly as busy as the lead instruments, between Oakley's rock-hard bass and the dual drumming of Trucks and Johanson. Their second album, 1970's Idlewild South, recorded at Capricorn's studios in Macon, GA, was produced by Tom Dowd, who had previously recorded Cream. This was a magical combination -- Dowd was completely attuned to the group's sound and goals, and Idlewild South broadened that sound, adding a softer acoustic texture to their music and introducing Betts as a composer (including the original studio version of "In Memory of Elizabeth Reed," an instrumental tribute to Miles Davis that would become a highlight of their shows, in many different forms, for the next 30 years). It also had a Gregg Allman number, "Midnight Rider," which became one of the band's more widely covered originals and the composer's signature tune.

    By this time, the band's concerts were becoming legendary for the extraordinarily complex yet coherent interplay between the two guitarists and Gregg Allman's keyboards, sometimes in jams of 40 minutes or more to a single song without wasting a note. And unlike the art rock bands of the era, they weren't interested in impressing anyone with how they played scales, how many different tunings they knew, or which classical riffs they could quote. Rather, the Allmans incorporated the techniques and structures of jazz and classical into their playing. In March of 1971, the band played a series of shows at the Fillmore East that were recorded for posterity and subsequently transformed into their third album, At Fillmore East. This double LP, issued in July of 1971, became an instant classic, rivaling the previous blues-rock touchstone cut at the Fillmore, Cream's Wheels of Fire. Duane Allman and his band were suddenly the new heroes to millions of mostly older teenage fans. Although it never cracked the Top Ten, At Fillmore East was certified as a gold record on October 15, 1971.

    Duane Allman was killed in a motorcycle accident 14 days later. The band had been midway through work on its next album, Eat a Peach, which they completed as a five-piece, with Dickey Betts playing all of the lead and slide guitar parts. Their second double album in a row became another instant classic, and their first album to reach the Top Ten, peaking at number five.

    Despite having completed Eat a Peach, the group was intact in name only. Rather than try to replace Duane Allman as a guitarist, they contrived to add a second solo instrument in the form of a piano, played by Chuck Leavell. The group had already begun work on a long-delayed follow-up to Eat a Peach, when Oakley was killed in a motorcycle accident only a few blocks from Allman's accident site.

    Lamar Williams (b. Jan. 15, 1949-d. Jan. 25, 1983) was recruited on bass, and the new lineup continued the group's concert activities, as well as eventually finishing the band's next album, Brothers and Sisters. which was released on August 1, 1973. During the extended gap in releases following Eat a Peach, Atco reissued The Allman Brothers Band and Idlewild South together as the double LP Beginnings, which charted higher than either individual release.

    Brothers and Sisters marked the beginning of a new era. The album had a more easygoing and freewheeling sound, less bluesy and more country-ish. This was partly a result of Capricorn losing the services of Tom Dowd, who had produced their three previous albums. Additionally, Dickey Betts' full emergence as a songwriter and singer as well as the group's only guitarist, playing all of the lead and slide parts, altered the balance of the group's sound, pushing forth his distinct interest in country-rock. Betts also became the reluctant de facto leader of the band during this period, not from a desire for control as much as because he was the only one with the comparative stability and creative input to take on the responsibility.


    The record occupied the number one spot for six weeks, spurred by the number two single "Ramblin' Man," and became their most well-known album. It was an odd reversal of the usual order of success for a rock band -- usually, it was the release of an album that drew the crowds to concerts, but in this case, the months of touring the band had done paved the way for the album. The fact that it kept getting pushed back only heightened the fans' interest.

    Ironically, Brothers and Sisters was a less challenging record than the group's earlier releases, with a relatively laid-back sound, relaxed compared to the groundbreaking work on the group's previous four albums. But all of this hardly mattered; based on the reputation they'd established with their first four albums, and the crowd-pleasing nature of "Ramblin' Man" and the Dickey Betts-composed instrumental "Jessica," the group was playing larger halls and bigger crowds than ever.

    An entire range of Southern rock acts had started to make serious inroads into the charts in the wake of the Allman Brothers. Labels such as MCA and even Island Records began looking for this same audience, signing acts like Lynyrd Skynyrd and Blackfoot, respectively, among others. For the first time since the mid-'50s, the heyday of the rockabilly era, a major part of the country was listening to rock & roll with a distinctly Southern twang.

    The band began showing cracks in 1974, as Gregg Allman and Dickey Betts both began solo careers, recording albums separately from the group. Allman married Cher (twice), an event that set him up in a Hollywood-based lifestyle that created a schism with the rest of the band. They might have survived all of this, but for the increasing strain of the members' other personal habits -- drugs and alcohol had always been a significant part of the lives of each of the members, except perhaps for Jaimoe, but as the strain and exhaustion of touring continued, coupled with the need to produce new music, these indulgences began to get out of control, and Betts' leadership of the group created a further strain for him.

    The band's difficulties were showcased by their next album, the highly uneven Win, Lose or Draw, which lacked the intensity and sharpness of their prior work. The whole band wasn't present for some of the album, and Gregg Allman's involvement with Cher, coupled with his serious drug problems, prevented him from participating with the rest of the group -- his vocals were added separately, on the other side of the country.

    The band finally came apart in 1976 when Allman found himself in the midst of a federal drug case against a supplier and agreed to testify against a friend and band employee. Leavell, Johanson, and Williams split to form Sea Level, which became a moderately successful band, cutting four albums for Capricorn over the next four years, while Betts pursued a solo career. All of them vowed never to work with Gregg Allman again.

    Amid this split, Capricorn Records, reaching ever deeper into its vaults for anything that could generate income, issued two collections, a double-LP live collection called Wipe the Windows, Check the Oil, Dollar Gas, showcasing the Brothers and Sisters-era band at various concerts, and a double-LP best-of package, And the Road Goes On Forever. Wipe the Windows was a modest seller, appearing as it did when the group's sales had already fallen off, and it was compared unfavorably with the legendary work on At Fillmore East. The studio compilation passed with barely a ripple, however, because most fans already had the stuff on the original albums.

    They were all back together by 1978, however, and over the next four years the group issued a somewhat uneven series of albums. Enlightened Rogues (1979) somewhat redeemed their reputations -- produced by Tom Dowd, who had always managed to get the very best work out of the group, it had more energy than any record they'd issued in at least six years. It also restored the two-guitar lineup, courtesy of Dan Toler (from Dickey Betts' solo band), who was brought in when Chuck Leavell (along with Lamar Williams) refused to return to the Allmans. By that time, however, the Allmans were fighting against time and musical trends. Disco, punk, and power pop had pretty much stolen a march on the arena acts epitomized by the Allmans; whatever interest they attracted was a matter of nostalgia for their earlier releases. The group was in danger of becoming arena rock's third big oldies act (after the Moody Blues and Paul McCartney's Wings).

    Additionally, their business affairs were in a shambles, owing to the bankruptcy of Capricorn Records in late 1979. When the fallout from the Capricorn collapse settled, PolyGram Records, the company's biggest creditor, took over the label's library, and the Allman Brothers were cut loose from their contract.

    Their signing to Arista enabled the group to resume recording. What they released, however, was safe, unambitious, routinely commercial pop/rock, closer in spirit to the Doobie Brothers than their own classic work, and a shadow of that work, without any of the invention and daring upon which they'd built their reputations. The group's fortunes hit a further downturn when Jaimoe was fired, breaking up one of the best rhythm sections in rock. For most of the 1980s, the group was on hiatus, while the individual members sorted out their personal and professional situations. During those years, only Dickey Betts seemed to be in a position to do much with his music, and most of that wasn't selling.

    In 1989, the band was reactivated again, partly owing to PolyGram's decision to issue the four-CD box set retrospective Dreams. That set, coupled with the reissue of their entire Capricorn catalog on compact disc in the years leading up to the box's release, reminded millions of older listeners of the band's greatness, and introduced the group to millions of people too young to have been around for Watkins Glen, much less the Fillmore shows.

    They reunited and also restored the band's original double-lead-guitar configuration, adding Warren Haynes on lead guitar alongside Dickey Betts, with Allen Woody playing bass; Chuck Leavell was gone, however, having agreed to join the Rolling Stones on tour as their resident keyboard player, and Lamar Williams had succumbed to cancer in 1983.

    The new lineup reinvigorated the band, which signed with Epic Records and surprised everyone with their first release, Seven Turns. Issued in 1990, it got some of the best reviews and healthiest sales they'd had in more than a decade. Their subsequent studio albums failed to attract as much enthusiasm, and their two live albums, An Evening With the Allman Brothers Band and 2nd Set, released in 1992 and 1995, respectively, were steady but not massive sellers. Much of this isn't the fault of the material so much as a natural result of the passage of time, which has left the Allmans competing with two decades' worth of successors and rivals.

    The group has stayed together since 1989, overcoming continuing health and drug problems, which have occasionally battered their efforts at new music. They remain a top concert attraction 25-plus years after their last historically important album, easily drawing more than 20,000 fans at a time to outdoor venues, or booking 2,000-seat theaters for three weeks at a time. Their back catalog, especially the first five albums, remain consistent sellers on compact disc and recently returned to the reconstituted Capricorn label (still a home for Southern rockers, including the latter-day Lynyrd Skynyrd, as well as reissues of Elmore James and other classic bluesmen), under a 1997 licensing agreement that has resulted in their third round of digital remastering.

    Apart from their Arista releases, the Allman Brothers Band has remained remarkably consistent, altering their music only gradually over 30 years. They sound more country than they did in their early days, and they're a bit more varied in the vocal department, but they have still been soaring at their concerts and on most of their records over the last ten-plus years.

    An early show     American University 12/13/70
    Partial Show - Set 1 is all that is in circulation

    Statesboro Blues
    Trouble No More
    Don't Keep Me Wonderin'
    Leave My Blues At Home
    Stormy Monday
    You Don't Love Me
    Whipping Post


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  • 03/16/13--13:39: BROTHERS EAST COAST


  • Link removed, This selection has been released officially Enjoy the art and buy it at Amazon.com

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  • 03/16/13--19:00: THE EARLY RIDE




  • 01  one more ride                                                                                                                                                   
    02  home jam
    03  little martha
    04  statesboro blues
    05  in memory of elizabeth reed
    06  midnight rider
    07  hoochie coochie man
    08  one more ride
    09  allman jam ( down along the cove)
    10  instrumental jam



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  • 03/17/13--07:19: 72 A.D.



  • No link  Lp has been officially released enjoy the art and buy it at Amazon.com



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  • 03/17/13--14:45: BROTHERS WEST COAST
  • Gregg Allman – lead vocals, organ, electric piano
    Dickey Betts – lead guitar, slide guitar
    Lamar Williams – bass
    Chuck Leavell – piano
    Butch Trucks – drums, percussion
    Jaimoe Johanson – drums
    Guest: Jerry Garcia – guitar
    Guest: Bill Kreutzmann – drums
    Guest: Boz Scaggs – vocals, guitar

    Set One:
    1. Wasted Words, 6:04
    2. Done Somebody Wrong, 6:02
    3. One Way Out, 9:50
    4. Stormy Monday, 8:59
    5. Midnight Rider, 5:00
    6. Blue Sky, 7:45
    7. Elizabeth Reed, 17:37

    Set 2: (Happy New Year),
    8. Statesboro Blues 6:58
    1. Southbound, 7:22
    2. Come & Go Blues, 5:27
    3. Ramblin’ Man, 8:06
    4. Trouble No More, 4:22
    5. Jessica, 12:59
    6. Les Brers in A Minor > 6:09
    7. drums > 11:12
    8. Les Brers in A Minor 14:34
    (Jerry Garcia, Bill Kreutzman & Boz Scaggs join in for remainder of the show)

    1. Whipping Post Jam, 11:52
    2. Linda Lou-> Mary Lou, 9:18
    3. Hideaway-> You Upset Me, 15:21
    4. Bo Didley-> Mountain Jam-> Bo Didley 27:11
    1. Save My Life, 18:54
    2. Blues Jam, 11:22

    Set 3:
    3. You Don’t Love Me, 9:49
    4. Will the Circle Be Unbroken> 4:45
    5. Mountain Jam 16:25




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  • 03/19/13--18:00: DIE GEBRUDER ALLMAN



  • 01. Intro
    02. Don't Want You No More
    03. It's Not My Cross To Bear
    04. Statesboro Blues
    05. Blue Sky
    06. Low Down Dirty Mean
    07. End Of The Line
    08. Loaded Dice
    09. In Memory Of Elizabeth Reed
    10. Gambler's Roll
    11. Good Clean Fun
    12. One Way Out
    13. Kind Of Bird
    14. Ramblin' Man
    15. Jessica
    16. Whipping Post




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  • 03/20/13--14:00: AT THE BEACON
  •  01  hot 'lanta
    02  statesboro blues
    03  sailin' cross the devil's sea
    04  midnight rider
    05  black hearted woman
    06  blue sky
    07  what's done id done
    08  worried down with the blues
    09  in memory of elizabeth reed
    10  same thing
    11  dreams
    12  back where it all begins
    13  soulshine
    14  change my way of living
    15  high falls
    16  one way out




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  • 03/21/13--18:26: BRINGIN IN SOME BLUES


  • Paul Butterfield was the first white harmonica player to develop a style original and powerful enough to place him in the pantheon of true blues greats. It's impossible to overestimate the importance of the doors Butterfield opened: before he came to prominence, white American musicians treated the blues with cautious respect, afraid of coming off as inauthentic. Not only did Butterfield clear the way for white musicians to build upon blues tradition (instead of merely replicating it), but his storming sound was a major catalyst in bringing electric Chicago blues to white audiences who'd previously considered acoustic Delta blues the only really genuine article. His initial recordings from the mid-'60s -- featuring the legendary, racially integrated first edition of the Paul Butterfield Blues Band -- were eclectic, groundbreaking offerings that fused electric blues with rock & roll, psychedelia, jazz, and even (on the classic East-West) Indian classical music. As members of that band -- which included Michael Bloomfield and Elvin Bishop -- drifted away, the overall impact of Butterfield's music lessened, even if his amplified harp playing was still beyond reproach. He had largely faded from the scene by the mid-'70s, and fell prey to health problems and drug addiction that sadly claimed his life prematurely. Even so, the enormity of Butterfield's initial impact ensured that his legacy was already secure. 
      

    Paul Butterfield Blues Band
    Unicorn Coffee House, Boston, MA
    Spring 1966


    set 1

    01   Look Over Yonders Wall
    02   Born In Chicago
    03   Love Her With A Feeling
    04   Get Out of Life Woman
    05   Don't Say No To Me
    06   One More Heartache
    07   Work Song

    set 2

    08   Thank You Mr. Poobah
    09   Serves You Right To Suffer
    10   Got A Mind To Give Up Living
    11   Walking By Myself
    12   Baby Please Don't Go
    13   World Is In An Uproar
    14   Got My Mojo Working

    Paul Butterfield - harp, vocals
    Mike Bloomfield - guitar
    Elvin Bishop - guitar
    Mark Naftalin - keyboard
    Jerome Arnold - bass
    Billy Davenport - drums




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  • 03/22/13--18:33: FILLMORE BUTTER


  • Paul Butterfield : Vocals/Harmonica
    Mike Bloomfield: Guitar
    Elvin Bishop: Guitar
    Mark Naftalin: Keyboards
     Jerome Arnold: Bass
     Billy Davenport: Drums
     tracks 1-7 on disc one are from 10-14-66
    tracks 8-10 on disc one 
    1-5 on disc two are from 9-30-66
     tracks 6-10 are from 1-18-69

     Disc one:
    1 Shake Your Money Maker 
    02 The Sky Is Crying
    03 Pretty Woman
    04 Help Me
    05 Never Say No
    06 So Fine
    07 East-West (fades out)
    08 Dropping Out
    09 Baby, Please Don't Go
    10 Drifting

    Disc two:
    01 Born In Chicago
    02 Willow Tree
    03 My Babe
    04 Kansas City
    05 Work Song
    06 intro/ One More Heartache
    07 I've Got a Mind to Give Up Living
    08 Everything Gonna Be Alright
    09 Get Out of My Life Woman
    10 All Your Love/ outro




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  • 03/24/13--04:45: IN FULL BLOOM

  • Michael Bernard "Mike" Bloomfield (July 28, 1943 – February 15, 1981) was an American musician, guitarist, and composer, born in Chicago, Illinois, who became one of the first popular music superstars of the 1960s to earn his reputation almost entirely on his instrumental prowess, since he rarely sang before 1969–70. Respected for his fluid guitar playing, Bloomfield knew and played with many of Chicago's blues legends even before he achieved his own fame, and was one of the primary influences on the mid-to-late 1960s revival of classic Chicago and other styles of blues music. In 2003 he was ranked at number 22 on Rolling Stone's "100 Greatest Guitarists of All Time"
    Mike was an original founding member of Paul Butterfield's Blues Band. In 1967 he formed The Electric Flag with Nick Gravenites in San Francisco.He would continue with a very respected solo career with work with other musicians until his passing in 1981

    Mike Bloomfield and friends at The Bottom Line in New York, January 25th 1975.
    This one was recorded from WLIR FM radio station.

    Source: FM Broadcast

    Track List:

    01 - You've Been Wrong
    02 - Band Intro
    03 - Orphan's Blues
    04 - Blue Highway
    05 - Buried Alive in the Blues
    06 - I'll Never Get Over Losing You
    07 - DJ Announce ( deleted)
    08 - Lights Out
    09 - I Believe
    10 - My Labors
    11 - Wine



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  • 03/25/13--15:27: PIGBOY CRABSHAW

  • A veteran guitarist who fused the blues with gospel, R&B, and country traditions, Elvin Bishop was born in Glendale, CA, on October 21, 1942. He grew up on a farm in Iowa with no electricity or running water, and eventually moved to Oklahoma with his family when he was ten. Raised in an all-White community, his only exposure to African-American traditions was the radio, which introduced him to the sounds of blues stations in Shreveport, LA. The piercing sound of Jimmy Reed's harmonica won his attention; Bishop would later liken it to a crossword puzzle that he had to figure out. What was this music? Who made it? What was it all about? Inspired, he began to put the pieces together.
    However, it was not until he won a National Merit Scholarship to the University of Chicago in 1959 that Bishop found the real answers to his questions. He found himself in the middle of the Chicago blues scene and immersed himself in the genre. After two years of college, Bishop dropped out and pursued music full time, eventually meeting Howlin' Wolf's guitarist Smokey Smothers and learning the basics of blues guitar from him. In the early '60s, Bishop teamed up with Paul Butterfield helped form the core of the Butterfield Blues Band. Although he had only played guitar for a few years, he practiced frequently and played with Butterfield in just about every place possible, including campuses, houses, parks, and -- in the venue that helped launch the band -- Big John's on Chicago's North Side. Bishop also helped shape the sound of several Butterfield albums, including The Pigboy Crabshaw, whose title refers to Bishop's countrified persona.

    In 1968, Elvin Bishop left Butterfield's band following the release of In My Own Dream. He launched a solo career and relocated to the San Francisco area, where he made frequent appearances at the Filmore with artists like Eric Clapton, B. B. King, Jimi Hendrix, and the Allman Brothers Band. Bishop recorded for four albums for Epic Records and later signed with Capricorn in 1974. His recording of "Traveling Shoes" (from the album Let It Flow) made a dent on the charts, but the single "Fooled Around and Fell in Love" (from Struttin' My Stuff) made a bigger splash in 1976 when it peaked at number 3 on the Billboard charts. Over the next few years, the Elvin Bishop Group dissolved. He released his album Best Of in 1979 and lay low for several years, eventually resurfacing when he signed with the Alligator label in 1988. 





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  • 03/27/13--04:46: MO BLOOM


  •  
    The extraordinary Michael Bloomfield, regarded by many as one of the best guitar players ever, here with a set around 50 minutes long recorded at the Swing Auditorium, San Bernardino Feb 18,1971

    Track List:

    01 - If You See My Baby (cut)
    02 - Poor Kelly
    03 - Statesboro Blues
    04 - You Won't See Me
    05 - She's Mine
    06 - Come Back Baby
    07 - Driftin' and Driftin'
    08 - Drinkin´Wine



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