(no subject)
artist: Allman Brothers
album: At Fillmore East
year: 1971
label: (two copies) Capricorn SD2802 & Capricorn 2CX0131
condition: VG/ EXC
price: one from Hugh Crowther, one from my Dad
value: $8 and $25 respectively
amg rating: 5
my rating: 5 stars
Between them my parents have given me maybe 40 records, the leftovers from whatever they couldn't, or didn't, sell whenever it was they stopped caring about music. This was one of the better records my Dad had left, both in quality and in condition. His copy is in really nice shape, he took good care of all his records. The copy Hugh Crowther (remember him Jon? think Catskills)gave me is a little beat up and I don't know why I've even kept it except that it's a different pressing. I think Hugh's might actually be the first pressing, but whatever. The album itself has to be one of the better live albums ever recorded. I don't tend to get way into "jammier" bands, but the Allman Brothers are on another level. Duane Allman's slide work is transcendant and Greg Allman's Hammond is so effortlessly complimentary that the 22 minutes of "Whipping Post" seem to fly by. I don't know why The Allman Brothers can take such long solos and never have it seem like noodling, but some bands can't play a six minute song without sounding like a Chinese Restuarant. I put this on suprisingly often, whereas I hardly ever touch any of my other Allman Brothers albums...
artist: Allman Brothers
album: Eat a Peach
year: 1972
label: Capricorn 2CP0102
condition: VG+
price: Dad
value: $7.50
amg rating: 5
my rating: 4.5 stars
I can just imagine my Dad in 1972, when he would've been 16, getting baked out of his mind and listening to this with his buddies while they stare at the artwork in the gatefold. My Dad looks back on those years of his life as his golden years, and I'm sure he'd be 16 all over again if he could. He's told me many many times that High School was the best time, how he'd hitchhike all over Michigan and go camping every weekend with his buddies, some weed and a case of beer. Now that I think about it 16 was the year his parents let him take the family car on a roadtrip (from Michigan) to Colorado. I remember hearing that story and being like ok so if that was one of the greatest memories of your life let me borrow the car and I'll be back in two weeks. Yeah right, apparently "times have changed;" what a cop out.
Times have certainly changed, but this album is still pretty damn good. The singles really stand out, but really all the material is strong. It's thrown together from a variety of sources, but it's still surprisingly coherent. One side is post Duane studio stuff, two sides are "Mountain Jam" (feat Duane) from the Fillmore East shows, and one side is Duane's last studio stuff. I tend to favor the third side, the one with Duane's last studio stuff, especially "Little Martha." "Little Martha" is an acoustic duet with just Duane and Dickey Betts and I dunno, everytime I listen to it it gets me thinking about all the talent Duane had that went to waste when he died so tragically. I was going to say the album would be better as one LP, just get rid of the live stuff, but it's that live setting where Duane really melts faces, so as a tribute to Duane it's fitting they left that in.
artist: Allman Brothers
album: Brothers and Sisters
year: 1973
label: Capricorn CP0111
condition: VG+
price: $1 @ VF Convention
value: $6
amg rating: 4
my rating: 3.5 stars
This is the only post-Duane album I can stand (I sold Win Lose or Draw and I didn't even think about buying any of the others)and while most of the line-up is the same, it has a completely different aura about it. Dickey Betts takes the lead, both vocally and songwriting-wise and comes up with two of the bands bigger hits ("Jessica" and "Ramblin' Man"). The sequencing on the album is chronological by recording date so midway through the album the loss of bassist Berry Oakley is shockingly apparent. I used to be a big Berry Oakley fan, I even wanted to buy the reissue Fender did of his burnt orange P-bass, but I had totally forgotten about him while listening to the other albums. He provided such a solid base for the groups improvisations that was dearly missed after his death. I think Dickey Betts was talented enough to carry this band, but two tragic deaths in two years certainly did the Allman's in. I don't think any band could've endured that and came out for the better. This album would've made a fine final statement, but I don't think anyone has minded the Allmans carrying on and touring since then, in this case I don't think its tarnished their legend at all.
album: At Fillmore East
year: 1971
label: (two copies) Capricorn SD2802 & Capricorn 2CX0131
condition: VG/ EXC
price: one from Hugh Crowther, one from my Dad
value: $8 and $25 respectively
amg rating: 5
my rating: 5 stars
Between them my parents have given me maybe 40 records, the leftovers from whatever they couldn't, or didn't, sell whenever it was they stopped caring about music. This was one of the better records my Dad had left, both in quality and in condition. His copy is in really nice shape, he took good care of all his records. The copy Hugh Crowther (remember him Jon? think Catskills)gave me is a little beat up and I don't know why I've even kept it except that it's a different pressing. I think Hugh's might actually be the first pressing, but whatever. The album itself has to be one of the better live albums ever recorded. I don't tend to get way into "jammier" bands, but the Allman Brothers are on another level. Duane Allman's slide work is transcendant and Greg Allman's Hammond is so effortlessly complimentary that the 22 minutes of "Whipping Post" seem to fly by. I don't know why The Allman Brothers can take such long solos and never have it seem like noodling, but some bands can't play a six minute song without sounding like a Chinese Restuarant. I put this on suprisingly often, whereas I hardly ever touch any of my other Allman Brothers albums...
artist: Allman Brothers
album: Eat a Peach
year: 1972
label: Capricorn 2CP0102
condition: VG+
price: Dad
value: $7.50
amg rating: 5
my rating: 4.5 stars
I can just imagine my Dad in 1972, when he would've been 16, getting baked out of his mind and listening to this with his buddies while they stare at the artwork in the gatefold. My Dad looks back on those years of his life as his golden years, and I'm sure he'd be 16 all over again if he could. He's told me many many times that High School was the best time, how he'd hitchhike all over Michigan and go camping every weekend with his buddies, some weed and a case of beer. Now that I think about it 16 was the year his parents let him take the family car on a roadtrip (from Michigan) to Colorado. I remember hearing that story and being like ok so if that was one of the greatest memories of your life let me borrow the car and I'll be back in two weeks. Yeah right, apparently "times have changed;" what a cop out.
Times have certainly changed, but this album is still pretty damn good. The singles really stand out, but really all the material is strong. It's thrown together from a variety of sources, but it's still surprisingly coherent. One side is post Duane studio stuff, two sides are "Mountain Jam" (feat Duane) from the Fillmore East shows, and one side is Duane's last studio stuff. I tend to favor the third side, the one with Duane's last studio stuff, especially "Little Martha." "Little Martha" is an acoustic duet with just Duane and Dickey Betts and I dunno, everytime I listen to it it gets me thinking about all the talent Duane had that went to waste when he died so tragically. I was going to say the album would be better as one LP, just get rid of the live stuff, but it's that live setting where Duane really melts faces, so as a tribute to Duane it's fitting they left that in.
artist: Allman Brothers
album: Brothers and Sisters
year: 1973
label: Capricorn CP0111
condition: VG+
price: $1 @ VF Convention
value: $6
amg rating: 4
my rating: 3.5 stars
This is the only post-Duane album I can stand (I sold Win Lose or Draw and I didn't even think about buying any of the others)and while most of the line-up is the same, it has a completely different aura about it. Dickey Betts takes the lead, both vocally and songwriting-wise and comes up with two of the bands bigger hits ("Jessica" and "Ramblin' Man"). The sequencing on the album is chronological by recording date so midway through the album the loss of bassist Berry Oakley is shockingly apparent. I used to be a big Berry Oakley fan, I even wanted to buy the reissue Fender did of his burnt orange P-bass, but I had totally forgotten about him while listening to the other albums. He provided such a solid base for the groups improvisations that was dearly missed after his death. I think Dickey Betts was talented enough to carry this band, but two tragic deaths in two years certainly did the Allman's in. I don't think any band could've endured that and came out for the better. This album would've made a fine final statement, but I don't think anyone has minded the Allmans carrying on and touring since then, in this case I don't think its tarnished their legend at all.